bluuebunny/crossref_metadata_2025 huggingface dataset:
Existence, multiplicity and profile of sign-changing clustered solutions of a semiclassical nonlinear Schrödinger equation
Authors: D'Aprile Teresa , Pistoia Angela
Published: January 2009

We study the existence and multiplicity of sign-changing solutions for the Dirichlet problem

\begin{cases} −ɛ^{2}\mathrm{\Delta }v + V(x)v = f(v) & \text{in }\Omega , \\ v = 0 & \text{on }\partial \Omega ,
\end{cases}

where

ɛ

is a small positive parameter,

Ω

is a smooth, possibly unbounded, domain,

f

is a superlinear and subcritical nonlinearity,

V

is a positive potential bounded away from zero. No symmetry on

V

or on the domain

Ω

is assumed. It is known by Kang and Wei (see [X. Kang, J. Wei, On interacting bumps of semiclassical states of nonlinear Schrödinger equations, Adv. Differential Equations 5 (2000) 899–928]) that this problem has positive
clustered
solutions with peaks approaching a local maximum of

V

. The aim of this paper is to show the existence of
clustered
solutions with mixed positive and negative peaks concentrating at a local minimum point, possibly degenerate, of

V

.
Rat bone marrow derived mesenchymal progenitor cells support mouse ES cell growth and germ‐like cell differentiation
Authors: Cui Guanghui , Qi Zhengyu , Guo Xin , Qin Jie , Gui Yaoting , Cai Zhiming
Published: January 2009

Mouse embryonic fibroblasts (MEFs) have been used as feeder cells to support the growth of mouse embryonic stem cell (mESC) and primordial germ cells (PGC) in culture for many years. However, MEF preparation is a complex and tedious task. Recently, there are reports indicating that the microenvironment provided by bone marrow stromal cells could support the survival of embryonic‐like stem cells in bone marrow. In this report, rat bone marrow derived mesenchymal progenitor cells (MPC) were used as feeder cells to culture mouse Oct4‐GFP ES cell and ES cell derived germ cells. FACS results show that similar to MEF, rat MPC could efficiently support growth of the mouse Oct4‐GFP ES cell line in culture (MPC 85.5 ± 5.1% vs MEF 84.1 ± 6.2%). ES cells could be subcultured for >15 passages without losing morphological characteristics. The cultured cells expressed stem cell marker alkaline phosphatase, Oct4, Sox2, and SSEA‐1. Furthermore, rat MPC cells were able to support survival of germ cells isolated from mouse Oct4‐GFP ES cell formed embryoid bodies (EB). After induction by retinoic acid for 7 days, some isolated cells differentiated to spermatogonial stem‐like cells, expressing Mvh, Stra‐8, Hsp90‐α, integrinβ1 and α6. Compared with traditional MEF culture systems, the rat MPC culture system is effective in supporting ES cell growth and is easy to prepare.
A novel hypothesis regarding the possible involvement of cytosolic phospholipase 2 in insulin‐stimulated proliferation of vascular smooth muscle cells
Authors: Isenovic Esma R. , Fretaud Maxence , Dobutovic Branislava , Sudar Emina , Smiljanic Katarina , Zaric Bozidarka , Trpkovic Andreja , Marche Pierre
Published: January 2009

Insulin (INS)viaINS receptor acts as a mitogen in vascular smooth muscle cells (VSMCs) through stimulation of multiple signaling mechanisms, including p42/44 mitogen‐activated protein kinase (ERK1/2) and phosphatidyl inositol‐3 kinase (PI3K). In addition, cytosolic phospholipase 2 (cPLA2) is linked to VSMCs proliferation. However, the upstream mechanisms responsible for activation of cPLA2are not well defined. Therefore, this investigation used primary cultured rat VSMCs to examine the role of PI3K and ERK1/2 in the INS‐dependent phosphorylation of cPLA2and proliferation induced by INS. Exposure of VSMCs to INS (100 nM) for 10 min increased the phosphorylation of cPLA2by 1.5‐fold (p< 0.01), which was blocked by the cPLA2inhibitor MAFP (10 μM; 15 min). Similarly, the PI3K inhibitor LY294002 (10 μM; 15 min) and ERK1/2 inhibitor PD98059 (20 μM; 15 min) abolished the INS‐mediated increase in cPLA2phosphorylation by 59%(p< 0.001), and by 75% (p< 0.001), respectively. Further, inhibition of cPLA2with cPLA2inhibitor MAFP abolished the INS‐stimulated ERK1/2 phosphorylation by 65% (p< 0.01). Incubation of rat VSMCs with INS resulted in an increase of VSMCs proliferation by 85% (p< 0.001). The effect of INS on VSMCs proliferation was significantly (p< 0.01) reduced by pretreatment with MAFP. Thus, we hypothesized that INS stimulates VSMCs proliferationviaa mechanism involving the PI3K‐dependent activation of cPLA2and release of arachidonic acid (AA), which activates ERK1/2 and further amplifies cPLA2activity.
High post surgical opioid requirements in Crohn's disease are not due to a general change in pain sensitivity
Authors: Huehne Kathrin , Leis Stefan , Muenster Tino , Wehrfritz Andreas , Winter Stefanie , Maihöfner Christian , Foertsch Thomas , Croner Roland , Reis André , Winterpacht Andreas , Rautenstrauss Bernd
Published: January 2009

Crohn's disease (CD) is a painful inflammatory bowel disease with complex multigenic inheritance. Suggested on the basis of a few isolated reports CD patients require significantly higher post operative opioid doses than patients undergoing comparable severe abdominal surgery. Crohn's disease therefore may be a suitable model for the identification of novel pain susceptibility genes. In order to confirm this observation and to elucidate the underlying molecular mechanisms, we investigated if higher opioid needs of CD patients are due to a general change in pain sensitivity. Quantitative sensory testing (QST) was applied to a subgroup of patients and polymorphisms in the μ‐opioid receptor (OPRM1) and catechol‐O‐methyltransferase (COMT) were investigated. Significantly increased post operative opioid requirements in CD patients were confirmed and QST assessment demonstrates that CD patients do not display increased pain sensitivity in terms of lowered thresholds to thermal and mechanical stimuli. The data also suggest that common variants inOPRM1and specific ‘high pain sensitivity’COMThaplotypes may not be the cause of high opioid needs. The results indicate that a more complex pathway is involved in the greater post operative opioid demand in CD. Therefore the presence of other, as yet unknown, genes could modulate opioid requirements in CD patients.
False fame, perceptual clarity, or persuasion? Flexible fluency attribution in spokesperson familiarity effects
Authors: Weisbuch Max , Mackie Diane
Published: January 2009

Familiar people are especially persuasive spokespersons. Here, a fluency attribution model of spokesperson familiarity was tested. Specifically, it was hypothesized that repeated exposure to a spokesperson would create fluency that, in a persuasive context, could be attributed to the persuasive message or to another fluency‐relevant cue (e.g., the fame of the spokesperson). In three experiments a woman's photo was repeatedly presented, and subsequently accompanied a persuasive message. Consistent with hypotheses, inflated ratings of the message followed repeated spokesperson exposure (compared to a no exposure control) but only when inflated ratings of the spokesperson (fame) or her photo (perceptual clarity) were not observed. Discussion focuses on implications for familiarity theories and on guidelines for maximizing the influence of familiar spokespersons.
The patient safety chain: Transformational leadership's effect on patient safety culture, initiatives, and outcomes
Authors: McFadden Kathleen L. , Henagan Stephanie C. , Gowen Charles R.
Published: January 2009

The purpose of this study is to investigate the existence of a patient safety chain for hospitals. Drawing on high reliability organization theory, multifactor leadership theory and total quality management literature, we develop and test a model for improving patient safety – a critical issue facing hospitals today. Specifically, we hypothesize that improving patient safety begins at the highest level of the organization with a transformational leadership style. This leads to a sequence of linkages whereby transformational leadership has an important relationship with creating a culture of safety, which in turn is associated with the adoption of patient safety initiatives, and ultimately with positive improvements in patient safety outcomes. Using data from a nationwide survey of over 200 hospitals, we use structural equation modeling to provide empirical support for the effectiveness of this patient safety chain model. The results have major implications for enhancing operations in hospital settings.
Decreasing dietary particle size of lupins increases apparent ileal amino acid digestibility and alters fermentation characteristics in the gastrointestinal tract of pigs
Authors: Kim Jae Cheol , Mullan Bruce P. , Heo Jung Min , Hansen Christian F. , Pluske John R.
Published: January 2009

Two experiments were conducted to examine the effects of lupin particle size on amino acid (AA) and energy digestibility and fermentation characteristics in pigs. Expt 1 examined the effects of lupin variety (cv. Tanjil and Mandelup) and lupin particle size (746, 888, 1099 and 1136 μm) on the total-tract apparent digestibility of dietary components in 63·5 (sd 7·28) kg pigs. While variety had no effect on total-tract apparent digestibility, decreasing particle size of lupins linearly increased total-tract apparent digestibility of crude protein of diets containing 350 g lupins per kg (P < 0·01). Expt 2 examined the effect of lupin particle size (567, 995, 1198, 1250 and 1304 μm) on digestion and fermentation characteristics in 29·8 (sd 2·9) kg pigs. Pigs were fed the respective diets ad libitum for the first 2 weeks and fed at three times maintenance energy level in the third week. Pigs were euthanised under sedation at 46·7 (sd 4·21) kg to collect digesta samples along the intestinal tract. Decreasing particle size increased apparent ileal and total-tract digestible N (P < 0·01) and the apparent and standardised ileal digestible AA content (P < 0·05– < 0·001) of lupins. Decreasing particle size of lupins linearly decreased the molar proportion of straight-chain volatile fatty acids (sum of acetic, propionic and butyric acids; VFAAPB), while branched-chain fatty acids (sum of valeric, caproic, isobutyric and isovaleric acids) were linearly increased (P < 0·001). The results demonstrated that particle size of lupins is a critical factor influencing nutrient, especially AA, utilisation efficiency and fermentation characteristics in the gastrointestinal tract of pigs.
Impact of maternal dietary fatty acid composition on glucose and lipid metabolism in male rat offspring aged 105 d
Authors: Ibrahim Ahamed ,   Ghafoorunissa, Basak Sanjay , Ehtesham Nasreen Z.
Published: January 2009

In recent years the intake ofn-6 PUFA andtrans-fatty acids (TFA) has increased, whereasn-3 PUFA intake has decreased. The present study investigated the effects of maternal diet high inn-6 PUFA,n-3 PUFA or TFA on glucose metabolism, insulin sensitivity and fatty acid profile in male offspring. Female weanling Wistar/NIN rats were randomly assigned to receive either a diet high in linoleic acid (LA), or α-linolenic acid (ALA), or long-chainn-3 PUFA (fish oil; FO), or TFA, for 90 d, and mated. Upon weaning, pups were randomly divided into seven groups (mother's diet-pup's diet): LA-LA, LA-ALA, LA-FO, ALA-ALA, FO-FO, TFA-TFA and TFA-LA. At the age of 105 d, an oral glucose tolerance test, adipocyte glucose transport and muscle phospholipid fatty acid composition were measured in the pups. All animals displayed normal insulin sensitivity as evidenced by similar plasma insulin and area under the curve of insulin after an oral glucose load. Maternal intake ofn-3 PUFA (ALA or FO) resulted in highern-3 PUFA in the offspring. Plasma cholesterol and NEFA were significantly higher in the TFA-TFA group compared with the other groups. Adipocyte insulin-stimulated glucose transport and adiponectin mRNA expression were lower in TFA-TFA and TFA-LA offspring compared with the other groups. While most mother-pup fatty acid combinations did not influence the measured variables in the pups, these results indicate that maternal intake of TFA led to an unfavourable profile in the pups through to the age of 105 d, whether the pups consumed TFA, or not.
Stephen Clark, the Laws of Logic and the Sorites
Authors: Goldstein Laurence
Published: January 2009

A standard method for refuting a set of claims is to show that it implies a contradiction. Stephen Clark questions this method on the grounds that the Law of Non-Contradiction, together with the other fundamental laws of logic do not accord with everyday reality. He accounts for vagueness by suggesting that, for any vague predicate ‘F’, an ordinary object is typically to some extent both F and not-F, and that objects do not change abruptly from being F to being not-F. I challenge Clark's ‘deconstruction’ of logic, and show that, in characterizing vagueness and dealing with the associated Sorites paradox, we can accommodate his observation that change from being F to being not-F is ineradically continuous without tampering with any fundamental logical laws.
Plasma channeling by multiple short-pulse lasers
Authors: Yu W. , Cao L. , Yu M.Y. , Cai H. , Xu H. , Yang X. , Lei A. , Tanaka K.A. , Kodama R.
Published: January 2009

Channeling by a train of laser pulses into homogeneous and inhomogeneous plasmas is studied using particle-in-cell simulation. When the pulse duration and the interval between the successive pulses are appropriate, the laser pulse train can channel into the plasma deeper than a single long-pulse laser of similar peak intensity and total energy. The increased penetration distance can be attributed to the repeated actions of the ponderomotive force, the continuous between-pulse channel lengthening by the inertially evacuating ions, and the suppression of laser-driven plasma instabilities by the intermittent laser-energy cut-offs.
Layers from initial Rayleigh density profiles by directed nonlinear force driven plasma blocks for alternative fast ignition
Authors: Yazdani E. , Cang Y. , Sadighi-Bonabi R. , Hora H. , Osman F.
Published: January 2009

Measurement of extremely new phenomena during the interaction of laser pulses with terawatt and higher power and picoseconds with plasmas arrived at drastically different anomalies in contrast to the usual observations if the laser pulses were very clean with a contrast ratio higher than 108. This was guaranteed by the suppression of prepulses during less than dozens of ps before the arrival of the main pulse resulting in the suppression of relativistic self-focusing. This anomaly was confirmed in many experimental details, and explained and numerically reproduced as a nonlinear force acceleration of skin layers generating quasi-neutral plasma blocks with ion current densities above 1011A/cm2. This may support the requirement to produce a fast ignition deuterium tritium fusion at densities not much higher than the solid state by a single shot PW-ps laser pulse. With the aim to achieve separately studied ignition conditions, we are studying numerically how the necessary nonlinear force accelerated plasma blocks may reach the highest possible thickness by using optimized dielectric properties of the irradiated plasma. The use of double Rayleigh initial density profiles results in many wavelength thick low reflectivity directed plasma blocks of modest temperatures. Results of computations with the genuine two-fluid model are presented.
Effect of laser beam filamentation on second harmonic spectrum in laser plasma interaction
Authors: Sharma R.P. , Sharma P.
Published: January 2009

This paper presents the laser beam filamentation at ultra relativistic laser powers, when the paraxial restriction on the beam is relaxed during the filamentation process. On account of laser beam intensity gradient and background density gradients in filamentary regions, the electron plasma wave (EPW) at pump wave frequency is generated. This EPW is found to be highly localized because of the laser beam filaments. The interaction of the incident laser beam with the EPW leads to the second harmonic generation. The second harmonic spectrum has also been studied in detail, and its correlation with the filamentation of the laser beam has been established. Starting almost with a monochromatic component of laser beam propagation, the second harmonic spectrum becomes more complicated, and broadened when the laser beam propagates further, and filamentation takes place. For the typical laser beam and plasma parameters: laser beam with wave length of 1064 nm, power flux of 1018 W/cm2, and plasma with temperature 1 KeV, we found that the conversion efficiency equals about (E2/E0) = 8 × 10−3, and the spectrum is quite broad, which depends upon the laser beam propagation distance. The results (specifically, the second harmonic spectral feature) presented here may be used for the diagnostics of laser produced plasmas.
The Hôtel de Bourgogne According to Sir James Thornhill
Authors: Barlow Graham
Published: January 2009

It is without any doubt that the theatre historian in Britain is greatly indebted to visitors from other lands, for evidence found in their letters, diaries and sketches has informed us of theatre architecture, plays and performances of which our own countrymen, neglecting to record what for them was a commonplace, made no mention. Now it is possible to reciprocate with material to be found in the sketch-book diary of Sir James Thornhill concerning the Hôtel de Bourgogne. The purpose of this article is to examine two sketches in that diary by Thornhill and consider them in the light of data already collected concerning that theatre.
The Performance Practice of Acting: The Eighteenth Century Part II: The Hands
Authors: Barnett Dene
Published: January 2009

Actors used the hands much more in the eighteenth century than is customary today. In this part we present general rules which were designed to ensure that the hands were used both elegantly and expressively. Later sections will deal with the use of the hands to externalize a particular passion being represented, such as fear, love and so on.
The First Known Picture of Falstaff (1662): A Suggested Date for His Costume
Authors: King T. J.
Published: January 2009

Falstaff is first pictured in the frontispiece engraving by an unknown artist for The Wits or Sport Upon Sport (Plate I), a collection of drolls and playlets adapted from earlier plays, originally published in two parts: part one by Henry Marsh in 1662 (with a second edition published by Francis Kirkman in 1672) and part two by Francis Kirkman in 1673. The engraving appears in both editions of part one and shows a rectangular stage lit by candelabra and footlights in front of a curtain hung from a gallery with a curtained window above. On stage are seven characters from six different pre-Restoration plays. In the lower left are ‘Sr. I. Falstafe’ and ‘Hostes’ from the first playlet in the collection, The Bouncing Knight or the Robbers Robbed, an adaptation of scenes from Henry the Fourth, Part One: II.iv, III.iii, IV.ii. V.i. and iv.
Dionysos in 1915: A Pioneer Theatre Collective
Authors: Sarlos Robert K.
Published: January 2009

In an essay on ‘Collective creation,’ Theodore Shank observed that emphasis on the ‘cooperation of a creative collective,’ sometimes in combination with group living, is a response to ‘the fragmentation of established society,’ and as such, an essential distinguishing characteristic of the ‘alternative’ or ‘new’ theatre. Social fragmentation and individual alienation from society are not, of course, products exclusively of the nine-teen-sixties; the idea that individual survival is possible only within a group structure has emerged in previous generations that have felt threatened by a cult of individualism—a salient characteristic of Western civilization that has been carried ad absurdum in the United States.
The London Stage in the Florentine Correspondence, 1604–1618
Authors: Orrell John
Published: January 2009

At Florence, housed in the Archivio di Stato in the noble rooms of Vasari's Uffizi, there lies a great collection of letters sent back to Tuscany from the many parts of Europe where representatives of the Medicean court were posted. Among them are files of dispatches written from London during the seventeenth century, and buried within these is a mine of information about the court theatre of the time. Masques, tilts and plays were occasions of some significance for the diplomatic community, for they were external signs of the power of the Stuart realm, and the Florentine agents who took up their residence in London during the course of the century were careful to note when such events took place, how well they came off and who was invited to them.
Félix Pyat, The People's Playwright
Authors: Blaisdell Lowell L.
Published: January 2009

Scholars familiar with the lesser lights of the 1830s and forties will recall the name of Felix Pyat. A lithograph executed in the 1850s by the designer Nadar (Félix Tournachon) and depicting the best-known Romantics, shows Pyat shoulder to shoulder with the greats, Chateaubriand, Hugo, Dumas, Vigny, Lamartine, Béranger, Heine, and others, as their youthful associate. Today he evokes incidental remembrance as the Berrichon companion of George Sand and Jules Sandeau and, according to his own reminiscences, the person who converted Eugène Suë into a socialist writer. In his day Pyat enjoyed prominence as a journalist and especially as a writer of melodrama, or, as he called it, ‘people's theater’.
Some Notes on Tibetan Dance
Authors: Kirk-Tenzing Sylvia
Published: January 2009

There are few Tibetan manuscripts which give instruction on the performance of religious dance. The printing blocks were generally kept under seal in the monasteries in Tibet, but one such blockprint may be seen in the museum for Volkerkunde in the collection of Nebesky-Wojkowitz in Vienna. It is a ‘cham dupe’ on the performance of the Kun tu tzangpoi cham as carried out by members of the Nyingmapa sect, consisting of 40 volumes.
East End and West End: Class and Audience in Victorian London
Authors: Booth Michael R.
Published: January 2009

Surveys of nineteenth-century drama and theatre in England fall approximately into two categories: an examination of the development of the drama itself – tragedy, comedy, melodrama, farce, etc. – with some theatrical context provided, and a study of changing theatrical conditions, with some reference to the drama. In both cases what we are told about the theatre relates to acting, architecture, methods of production, lighting, costuming, company organisation, the actor-manager, and so forth. Never, or hardly ever, are we told anything about audiences: what kind of audiences went to what theatres, what their class was, what jobs they did, how much they got paid, what their non-theatrical tastes were, how often they went to the theatre, where they lived and under what conditions. Such information, however, is essential if we are fully to understand the repertory or style of a particular theatre at a particular time in history, and ultimately the character and content of the drama itself.
The Second Staging of Peer Gynt, 1886
Authors: Neiiendam Klaus
Published: January 2009

Ten-year intervals are well known to have been of special significance in the international history of staging Peer Gynt. The play was written in Southern Italy in 1866–7; it was first staged in Kristiania in 1876, and produced for the second time in Copenhagen in 1886. The Paris performance at the Théâtre de 1'Oeuvre with Lugné-Poë as The Old Man of the Dovre in 1896 marked the beginning of its becoming internationally known.
Old and New: The Rejection of the Fan-Shaped Auditorium and the Reinstatement of the Courtyard Form
Authors: Mackintosh Iain
Published: January 2009

In the programme I am described as a theatre architect. I am not an architect but a theatre design consultant – one of a small team in London which assist architects in Britain and in many other countries – for the design and equipping of theatres. All of our group are practical men of the theatre. I mention this because my training is not architectural but theatrical experience – for twelve years a director of a touring drama company with no theatres of its own but which visited over a hundred theatres in twenty countries. As a result my approach to the design of old and new theatres is empirical. I have also changed my title. It is now: Old and New: the rejection of the fan-shaped auditorium and the reinstatement of the courtyard form’.
Plays and Amusements Offered for and By the American Military During the Revolutionary War
Authors: Brown Jared A.
Published: January 2009

In October, 1774, the Continental Congress, meeting in Philadelphia, passed a resolution designed to ‘discountenance and discourage every species of extravagance and dissipation’, including the ‘exhibition of shews, plays, and other expensive diversions and entertainments’. The Revolution would begin within six months, and Congress was clearly attempting to prepare Americans for a period of austerity. But if Congress intended to eliminate all theatrical activities for the duration of the hostilities, it could not have failed more completely. Indeed, the American Revolution saw more theatrical activity on American soil than had ever taken place there before. British military officers – who brought with them a strong theatre-going tradition – sponsored lavish performances of plays in New York, Philadelphia, and elsewhere between 1775 and 1783. In turn, the remarkable number of British theatrical productions stimulated certain American military officials to countenance performances given by American officers for audiences of soldiers and civilians. This may have been illegal, but it boosted morale and it was intended to demonstrate that Americans could compete with the British on any level, including the theatrical.
From Siege to Lock-out: An Actors' Strike at the Comédie-Française in 1765
Authors: Roddick Nick
Published: January 2009

The aims and ambitions of this article are initially fairly limited. I want to examine a series of events which occurred at the Comédie-Française in April and May of 1765, leading to a complete disruption of normal performances at the theatre, to the imprisonment of most of the company's leading actors, and to the temporary withdrawal from performance of what might otherwise have been eighteenth-century France's biggest ‘box-office hit’, Le Siège de Calais, a patriotic tragedy by Pierre-Laurent Buirette de Belloy. In themselves these events, sometimes known as l'affaire Dubois after the actor most directly involved in them, are little more than a bizarre and sporadically scurrilous footnote to the theatrical history of France in the eighteenth century. But the more one examines them, the more they illuminate certain rather murky areas of literary and social history, two areas in particular: firstly, the social relations of the acting profession at a time when it was, despite considerable pressure from numerous sources, still barred en bloc from the sacraments of the Catholic church; and secondly, the degree of autonomy which could be said to have existed for a company which was, legally, a kind of workers' co-operative but which, at any rate at that stage, operated within a rather ill-defined administrative limbo (it was simultaneously autonomous and totally subject to noble whim). The strike which brought about the cancellation of performances of Le siège de Calais in April 1765 is, then, a specific and in no way typical event, but one which draws together a number of historical strands – literary, theatrical, economic, moral and political – in a particularly interesting way. I want, in the course of this article, to deal with two questions – questions to which I do not really feel able to give definitive answers but which may, when examined, cast doubt upon one or two familiar preconceptions about the nature of the eighteenth-century theatre as a profession, and at the same time open up certain areas of enquiry with regard to the theatre as a material reality rather than a predominantly literary or artistic form. The questions are in themselves quite simple: why did the sociétaires of the Comédie-Française refuse, on Monday, 15th April 1765, to perform a play which, given its enormous success earlier in the year, it was very much in their economic interests to present? And why did the resulting situation become so irreducible that, far from the usual discreet pressures being brought to bear on the relevant authorities to resolve the dispute, it led to the imprisonment of three of the most popular ‘stars’ of the century, and to an effective lockout lasting for almost a month?
Production Finance at the Rose Theatre, 1596–98
Authors: Carson Neil
Published: January 2009

One of the most consistently overlooked topics in Elizabethan theatre history is the internal organization of the acting companies. Modern scholarship has considerably enlarged our knowledge of the public and private playhouses, and of certain aspects of acting and staging, but we remain woefully ignorant of the way in which the actors went about the actual business of producing their plays. Our ignorance in these matters is the more surprising in that a substantial amount of primary evidence relating to production management and finance has long been known to exist in the so-called ‘diary’ and papers of Philip Henslowe and Edward Alleyn. Whereas the relatively less accessible material relating to the theatres has been subjected to increasingly sophisticated analysis by various commentators in this century, Henslowe's diary remains a curiously neglected document.
Oral Composition and the Karaghiozis Performance
Authors: Myrsiades Linda Suny
Published: January 2009

The Karaghiozis performance – a shadow puppet form introduced to Greece by the late eighteenth to early nineteenth centuries by its Ottoman conquerors – became hellenized over the century following Greece's liberation from the Turks in 1821 to develop into a form significantly different from its prototype in its plots, stock characters, structure, and themes. A performance which attracted widely-ranging popular support, Karaghiozis took on until recently greater importance than live theatre in Greece both as a cultural reflection and as a viable dramatic medium. Traditionally, the performance opens with a prologue which functions very much like a curtain-raiser. The Greek prologue differs from that of its Turkish forerunner in which the hunchback fool hero's cohort, Haciavad, recites a poem, sings a song, and offers prayers. In the Greek performance, a modern prologue typically includes some combination of the following scenes: Karaghiozis' opening dance, his marching and quizzing of his sons, a quarrel between the rustic Barba George and the palace guard Veligekas, an announcement by Karaghiozis and his sons of the evening's performance, and an extended stock scene of some type (the supposed death and resurrection of Karaghiozis, for example).
The Republican Theatre During the Spanish Civil War: Rafael Alberti's Numancia
Authors: McCarthy James
Published: January 2009

The Spanish theatre in the twentieth century has often been criticized for its allegedly poor and unoriginal qualities, only Lorca and Valle-Inclán being widely accepted as dramatists who sought to revitalize the theatre of their day. The period of the Civil War, however, was a time when a number of writers, such as Max Aub, Miguel Hernández and Rafael Alberti, made important experiments with political theatre which are as yet largely unstudied. It is the aim of this article to redress the balance somewhat, by suggesting that the Civil War was not a disaster for the Spanish theatre but gave rise to radical innovations which have generally been neglected, such as Alberti's 1937 adaptation of Cervantes's tragedy El cerco de Numancia (c. 1580–7).
The commedia dell'arte and the Circus in the Work of Jacinto Benavente
Authors: George David
Published: January 2009

Jacinto Benavente (1866–1954) is one of Spain's forgotten dramatists. In an interview contained in an article published recently in the newspaper Ya to commemorate the twenty-fifth anniversary of Benavente's death, the theatre director José Luís Alonso said: ‘se puede decir que, prácticamente, ha caído en el olvido, mientras que otros autores de su tiempo, un claro ejemplo lo tenemos en Valle-Inclán, han conseguido hoy su plenitud’ [one can say that Benavente has been almost completely forgotten, while other authors of his day (Valle-Inclán is a good example) have today come into their own]. Benavente is today hardly ever performed in Spain, unlike his contemporaries Valle-Inclán and García Lorca. His preoccupation with middle and upper-class characters, and his unwillingness to treat social themes in a radical manner go a long way towards explaining this lack of interest in him. Benavente's plays may seem rather trivial and old-fashioned when compared with Valle-Inclán's bitterly satirical es-perpentos or Lorca's powerful folk tragedies, yet during his lifetime he was Spain's most frequently-performed dramatist. His work is varied, including fantasy plays, dramas on rural themes, and plays satirizing polite society. He received the Nobel Prize for Literature in 1922. His best work was written relatively early in his life, and the high point of his dramatic output is generally considered to be Los intereses creados (The Bonds of Interest), first performed in 1907, and based on the commedia dell'arte. This, however, is not the only work by Benavente in which commedia characters appear: in the period up to 1916 the author frequently deals with the commedia dell'arte, and his play El hijo de Polichinela (Polichinela's Son) appeared as late as 1927.
Moscow and Monodrama: The Meaning of the Craig-StanislavskyHamlet
Authors: Senelick Laurence
Published: January 2009

If the ordinary student of theatre remembers anything at all about the production ofHamletconceived by Gordon Craig in 1909 and staged by Stanislavsky at the Moscow Art Theatre in 1912, it is that the screens fell down. This aspect of the design, a series of folding screens on casters, arranged in such a way that they might be reversed and alternated, thus changing the scene before the eyes of an audience to create a sense of abstract monumentality, was in fact poorly realized by the plain wood-and-canvas flats that proved to be the most viable medium. And they did indeed fall down, although not in performance, but at a special technical run-through on the afternoon before the opening, when they required rapid repairs and trays of ballast to stabilize them. As a result, the quick-change in full view was replaced by a traditional scene-shift behind closed curtains. Craig had not been at that calamitous rehearsal and knew nothing of the accident; when he read about it, twelve years later, vividly recounted in Stanislavsky'sMy Life in Art, he reckoned the story a lie and a libel, and, fearful of the mockery to which his ingenuity would be subjected, threatened to sue unless Stanislavsky cut the offending episode. Not until confronted by a sworn affidavit from the stage hands and master carpenters who had been present did he subside into a grumbling quiescence.
Three Self-Reflexive Masks
Authors: Miller Mary Jane
Published: January 2009

Masks are age-old artefacts common to many cultures. In this paper I attempt to show, through the maskmakers' choice of materials, subject matter and innovations in the conventions basic to the traditional uses of mask, that the three which I have selected provoke useful speculations on the nature and function of masking itself.
United Company Finances, 1682–1692
Authors: Milhous Judith
Published: January 2009

This essay is an attempt at a partial reconstruction of the finances of the United Company in London between 1682 and 1692. Ideally, one would wish to discover the ‘day bookes of the Theatre’ so often referred to ‘for greater certainty’ in lawsuits after the turn of the century. But even without them, we can calculate approximate figures for the company's fixed expenses and its declared profits year by year. Such a framework gives us a perspective from which to view an analysis of house charges, managers' fees, actors' incomes, and investments in particular productions. I have drawn together various bits of evidence, some of them well-known to specialists, but I have used the information in new ways. I have also speculated freely on how the pieces we have might fit together. There are limits to what we can deduce from available evidence, but this reconstruction does give us a much clearer idea than we have previously had of the scale of theatre as a business in late seventeenth-century London. A startling amount of money flowed through the United Company.
A Wife's Tragedy: An Unpublished Sketch for a Play by Oscar Wilde
Authors: Shewan Rodney
Published: January 2009

The MS of Oscar Wilde's A Wife's Tragedy belonging to the Clark Library comprises 28 unbound foolscape sheets, including one partial sheet, all of which are feint ruled except for one (20 A) which is plain. There is an additional small quarto sheet of plain correspondence paper with the watermark ‘Silver Linen’. Wilde provides no continuous pagination (and litte pagination of any kind), so I have numbered the sheets according to what I consider their most likely and satisfactory continuity, denoting the two sides of each sheet by A and B. The single quarto sheet, bearing merely an incomplete title, ‘Wife's Tragedy’, is not included in this sequence of pagination.
Victor Hugo's Theatrical Royalties during his Exile Years
Authors: Horn Pierre L.
Published: January 2009

It is commonly known that Victor Hugo felt only contempt and hatred for Napoleon III and his Second Empire, so readers of Hugo's History of a Crime might easily expect that the Emperor's vengeful wrath would fall on the poet. However, far from trying to destroy Hugo financially, Napoleon not only allowed the sale of numerous of his masterpieces in France (with the exception of Châtiments and other writings considered insulting to the regime) but he did not interfere with the performance of the Hugolian repertoire on the stage of Parisian theatres.
ThePlayboybefore the Riots
Authors: Kelsall Malcolm
Published: January 2009

Was the Abbey Theatre company partly responsible for the originalPlayboyriots? Synge's comedy would have shocked Irish patriotism and propriety under any circumstances, but did the author and Frank and William Fay provide fuel for the flames by the manner in which they produced the work? The reaction of Dublin has been readily dismissed as mere philistinism, but without any attempt to assess how much the audience was provoked. Yet one thing is clear: the first night audience of Saturday, 26 January 1907, did not come to riot. On the contrary, they gave the play a fair critical hearing, and all accounts are agreed that vocal protest (far short of a riot) did not break out until late in the evening. It is also known that after the death of Synge and the departure of the Fays, the interpretation of the play was radically revised to make the production more palatable. It is reasonable to enquire, therefore, what the company originally had in mind.
The First Public Performances of ‘The Star-Spangled Banner’
Authors: Ritchey David
Published: January 2009

The first public performance of ‘The Star-Spangled Banner’, the national anthem of the United States, was in the Holliday Street Theatre in Baltimore, Maryland, October 19, 1814. The performance came on the fifth night of a twenty-four performance season that extended between October 12 and November 21, 1814. The theatrical season paralleled the conclusion of the War of 1812. And in many ways, William Wood and William Warren, managers of the acting company, complemented the war with plays having military themes – Point of Honour, He Would Be A Soldier, and The Soldier's Daughter. The acting troupe that performed in Baltimore during this fall made the Chestnut Street Theatre in Philadelphia its headquarters. The Baltimore American and Commercial Advertiser lists only the following performers as appearing in Baltimore during this season – Miss Abercrombie, Mrs Mason, Mrs Seymour, Mrs Greene, Joseph Jefferson, Ferdinand Durang, Charles Durang, William Francis, J. Hardinge, Francis Blissett, and Mr and Mrs Waring who were making their first appearance in Baltimore. Available playbills add to the list of performers Mr Duff, Mr Harris, Mr Barrett, Mr Abercrombie, Mr T. Jefferson, Miss Jefferson, Mrs Francis, and Miss White.
Evolution in the Theatre of Gabriel Cousin
Authors: Jeffery D. W.
Published: January 2009

To anyone familiar with the work of Gabriel Cousin, adaptability is a natural and acceptable phenomenon that has been, and still remains, a feature of his writing for the theatre. As an evolving and creative activity, his dramatic output has expressed his ‘prise de conscience’ on social and political themes for the past thirty years. Since the end of the Second World War when, with the group known as Les Compagnons de la Saint-Jean, Cousin's rôle was to put to paper the collective product of their ideas, he has continued to work on a collaborative basis with producers, musicians, designers and theatre managements. Indeed, the willingness to do so frequently becomes a necessity in view of some of the difficult problems that a production of his plays entail – problems that affect the audience as much as the actors and producers.
On Translating Goethe and Schiller for the English-speaking Stage
Authors: Prudhoe John
Published: January 2009

No translation can equal the original in all respects. Usually one is lucky if about three-quarters of the richness of a foreign masterpiece is communicated; only in very rare cases – such as Tieck's translations of Shakespeare into German and FitzGerald's rendering of the Rubáiyát of Omar Khayam into English – does the translation become a work of art in its own right. But the odds against this happening are so long that a translator is forced to draw up a list of priorities before he starts work and to decide which particular aspects of the text in question he will strive to render most faithfully. In other words, he must make up his mind what particular function his translation will serve: the man who is providing an A-level ‘crib’ will then aim first and foremost at literal accuracy, the man who is concerned to render the niceties of philosophy may well put subtlety of definition before elegance of style – and so on. If I am to lay my own cards on the table, I confess that my primary aim in translating the plays of Goethe and Schiller has been to bring out their stageworthiness and the dramatic force of their language. I have done this for two main reasons: firstly, because it seemed to me that many existing translations of both poets obscured their theatrical qualities altogether, and secondly, because I am convinced that these theatrical qualities (conveyed in such things as speech rhythms, rhyme-schemes, use of rhetoric, use of assonance, etc.) are vital keys to the playwright's meaning.
Agitation and Anaesthesia: Aspects of Chinese Theatre Today
Authors: Howard Roger
Published: January 2009

Few people deny the intimate inter-relationship in new China of culture on the one hand, and the stage of the revolution on the other. Yet I do not think it has always been made clear why it is theatre that has been the main art for expressing that relationship.
Philip Astley's 1786 Circumvention of a Parisian Theatre Regulation
Authors: Moy James S.
Published: January 2009

Eighteenth century Parisian theatres operated under strict theatrical regulations. While licensed to produce a particular type of entertainment, each theatrical manager was admonished to not infringe upon the theatrical specialities of his competitors. In the 1770s, Philip Astley, an Englishman considered by most theatre historians the ‘father of the modern circus’, began offering his unique equestrian performances to Parisian audiences (see Plate I). Although he spent most of his time performing in London, Astley returned to Paris on a fairly regular basis. His London performances usually included clowning, juggling and acrobatics as entr′actes to the equestrian exercises. In Paris, however, juggling, tight-rope acts and the like were among the licensed specialties of Jean-Baptiste Nicolet, a noted acrobat with a long and popular history of performance both at the fairs and on the Boulevard du Temple. Frustrated by the narrowness of the license granted him, Astley devised a unique means of circumventing the regulation.
The Moor's Progress: A Study of Edward Young's Tragedy, The Revenge
Authors: Parker Gerald D.
Published: January 2009

A reviewer of a production of Edward Young's tragedy, The Revenge, in 1815, wrote:

Sound morality and good manners demand that this Play should either be greatly altered, or banished from the Stage. No character of Kotzebue is either so unnatural or so dangerous as Zanga. We may pronounce him a despicable coward by the surest test of cowardice – a vindictive spirit that knows not how to pardon…. Zanga is described as brave, heroic, and noble, yet forgiveness is not in his nature. He is more contemptibly mean – more desperately wicked than Iago. He is made more an object of esteem and pity than Othello…. Why did not the author make him the victim of his own contrivances? Why did he not exemplify in the disappointment of Zanga, the sure punishment of an indiscriminate revenge? … He is a fiend that gains our respect by forcing our admiration, and he does this when the real nature of his actions qualify him rather for the gibbit than for the honourable termination of his life.
Stage Metaphor
Authors: Rozik Eli
Published: January 2009

Two major theoretical requirements should be fulfilled before embarking on an attempt to suggest an adequate description of stage metaphor. First, an appropriate description of verbal metaphor is mandatory. Such a prerequisite does not imply that stage metaphor is a derivative of verbal metaphor; it assumes, rather, a common deep structure underlying both verbal and stage metaphors and recognizes the fact that theories of verbal metaphor are much more advanced. There is no way to avoid striving for a unified theory of metaphor, which assumes the existence of a common deep structure, and explains the generation of both particular types of metaphor. Second, an appropriate description of theatrical language, which is a particular case of iconic communication, is also mandatory since, according to the same premise, differences in the structure of metaphor in varying languages should be accounted for on the grounds of the specific features of the respective languages.
The Age-Old Tradition of Mexico's Popular Theatre
Authors: Frischmann Donald H.
Published: January 2009

Mexico's popular theatre is a multi-faceted ancient art whose roots extend deep into pre-Hispanic cultures, as well as into the popular dramatic tradition of Spain. Today, nearly five centuries after the arrival of the Spaniards, popular theatre continues to be a phenomenon both of urban and rural Mexico, reflecting the rich gamut of cultural and historical characteristics found throughout this vast geographic and ethnic patchwork. While a wide range of distinctive qualities exist across the broad spectrum of popular theatre, formal differences give way – through careful observation and analysis – to the perception of an underlying unity of purpose which supports all popular theatre: addressing the spiritualandmaterial needs of the common people.