bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Renaissance Pleasure Faire
Authors: Blazer Sam 
Published: April 2006

The Renaissance Pleasure Faire, a “living history environment,” has been an annual event in California since 1963, beginning in Los Angeles, where it is held in April and May, and then traveling to Marin County where since 1967 it has been open in August and September.The Marin Renaissance Pleasure Faire, which lasts six weekends, as does its Los Angeles counterpart, has sprawled over a mile and a half of the Oak Forest near Novato, which is near San Rafael. “Renaissance,” in this case, means medieval and Elizabethan England with a convenient recognition of falafel, Turkish coffee, and Italian delicacies, which may or may not have been known to the British during the reign of Queen Elizabeth I.Peg Long, the fair's entertainment coordinator, auditions potential Pleasure Faire performers two or three months before each event. Once chosen, they participate in a month-long series of preparatory workshops on diction, scenarios, historical background, and the general ambience of the Pleasure Faire.
Jeff Sheridan's Street Magic
Authors: Condos Susan 
Published: April 2006

It is not unprecedented for street magicians to annex a given area of the city and make it their own. “The magician of the Chateau d'Eau,” who performed in Paris during the 1820's, could always be found in front of a certain fountain. The spot that Jeff Sheridan has chosen as his is the Walter Scott statue in Central Park.I think of it as my own personal outdoor theatre, and I don't pay rent, which is nice. I chose it for practical reasons. I felt I had to work in a proscenium space because all the technique I use requires having my back covered. Also, the base of it provides a natural platform which is important because you can be more easily seen and consequently draw a larger audience.Sheridan's form of conjuring is traditional but in many ways his execution of it is not. He works as minimally as possible, using few props, rejecting a costume for the simplicity of a black turtleneck sweater and trousers.
Actress from Iowa: Sue Sheehy
Authors: Simmer Bill 
Published: April 2006

Sue Sheehy was a waitress in a small restaurant when Robert Wilson created Deafman Glance at the University of Iowa in 1970. She had lived in Iowa all her life and had never seriously considered leaving it until she met Wilson. “Robert Wilson and John D'Arcangelo came into the restaurant where I was working,” she recalls, “and Bob said, ‘I want that girl to be in my play.’” Up to that time, she had never given much thought to becoming an actress. “Sure, they've got theatre groups in Iowa,” she says, “but you have to know somebody in order to do it, or have a background… It never really turned me on. I was always told I could never do it, there was no sense in trying.”Being a part of Deafman Glance, therefore, was a new and fascinating experience. The play itself was unlike any she had seen before.
Priscilla Smith of The Great Jones Repertory Project
Authors: Cartwright Diane 
Published: April 2006

I don't know how an actor in this country is supposed to develop an attitude of responsibility to his craft. Actors are immediately caught up in the problem of having a career. I don't know how actors walking around with resumes, committed to the concept of how-am-I-going-to-promote-my-career, develop themselves at all. I don't think it can happen in a three-week rehearsal period. I find this most painful. I don't know what I would do had not accident provided the opportunity for me to work in this situation and had Ellen Stewart not been there to support it.In 1971 Priscilla Smith, Andrei Serban, Elizabeth Swadosand the other members of what was then the La Mama Repertory Company (now the Great Jones Repertory Project) engaged in a series of workshops, the end-product of which was Medea rendered in the original Greek and Latin.
Symbolist Staging at the Théâtre d'Art
Authors: Deák Frantiŝek 
Published: April 2006

Between November 1890 and March 1892. the Théâtre d'Arstaged seven productions. It was during these two years that it became associated with the symbolist poets and finally came to represent the symbolist poetic in theatre. The staging of pierr Quillard's play La Fille aux Mains Coupées (The Girl with Cut-off Hands), the first stage production of Maurice Maeterlinck's plays L'Intruse (The Intruder) and Les Aveugles (The Blind), the recitation of poetry from the stage, and the staging of Song of Songs-all at the Théâtre d'Art—represent four different aspects of symbolist performance.The Girl with Cut-off Hands, a mystery in two scenes performed on March 19th and 20th, 1891, was the first distinctly symbolist production in regard to its mise-en-scene and design. To a great extent it influenced the staging practice of Théâtre d'Art. The play was performed on a stage separated from the audience by a gauze scrim immediately behind the footlights.
The Romand Popular Theatre
Authors: Duvanel Blaise 
Published: April 2006

The Theatre Populaire Romand (Romand Popular Theatre) or TPR celebrated its fifteenth anniversary in 1976. For a professional, completely autonomous troupe whose politics and administration are independent from any control by authorities, this is a record rarely equaled in Switzerland or even in Europe.This remarkable endurance owes much to the will and determination of the troupe's director, Charles Joris, who has always established and maintained solid and homogeneous groups despite the internal crises and the periodic defections inherent in an enterprise of this sort. But strong will and a coherent theatrical project do not register in a void. The most eminent characteristic of the TPR is precisely its long-term political vision: the concrete insertion of its theatrical activity into the life of the region, of the territory where it has chosen to work.
A Growth of Images
Authors: Kennedy Adrienne 
Published: April 2006

Autobiographical work is the only thing that interests me, apparently because that is what I do best. I write about my family. In many ways I would like to break out of that, but I don't know how to break out of it. In fact I would really like to write more about the people who were before my own immediate family, like my grandparents and their family. I have two children, but I've never been able to write about them.I feel overwhelmed by family problems and family realities. I see my writing as being an outlet for inner, psychological confusion and questions stemming from childhood. I don't know any other way. It's really figuring out the “why” of things—that is, if that is even possible. I'm not sure you can figure out the “why” of anything anymore.
A Reinvention of Form
Authors: van Itallie Jean-Claude 
Published: April 2006

When I write a play there's no single sure track to run on. It's different each time I start. Each time is starting from scratch, a reinvention of form. There may be easier ways to do it, but for me, that's how it is. There are no rules that always apply. If I teach a playwriting class, I set up exercises, so people can learn some possible different approaches. I would be loathe to prescribe one single approach.As you catch me just about to start something—which is always a peculiar time fora writer—I find it even more difficult to tell you how I go about things.
The Theatre of the Grotesque
Authors: Calendoli Giovanni 
Published: April 2006

In the years after the first World War, two plays unexpectedly achieved a clamorous success in the major capitals of Europe. This phenomenon demonstrated that an important new phase of Italian theatre was replacing the almost exclusive domination of D'Annunzio in the years past. The two plays were: Six Characters in Search of an Author by Luigi Pirandello, staged in Paris in 1923, and The Mask and the Face by Luigi Chiarelli, staged in London in 1924.The triumphant reception given by the Parisian spectators to Six Characters was the beginning of Pirandello's international success, and it initiated the prodigious dissemination of his work. The London production of The Mask and the Face, on the other hand, was the end of a flowering of plays that had taken place during the war and had been given the rather incorrect name of the Theatre of the Grotesque.
The Theatre of Memè Perlini
Authors: Mele Rino 
Published: April 2006

After having worked with Giancarlo Nanni as a scenographer, Memè Perlini began his career as a director in 1973 with a signal work in the history of Italian experimental theatre: Pirandello, Chi? (Who's Pirandello?). The production is based entirely on the relationship between light and objects. It does not interpret a script. On the dark stage, the actors move as though in a performance for themselves, hidden from the spectators, revealed only by flashes of light. It is a darkness full of phantoms—like the unconscious of the representation, like the deep structure from which emerges traces of violent struggle.In the dark theatrical space, Perlini, from the front of the stage, works with small projectors on the magma of unknown actions. He cuts out square and rectangular pieces of light—very precise areas in which he captures details, parts of bodies, parts of objects.
Answers
Authors: Theatre Squat 
Published: April 2006

The Metropolis, choking in garbage, burning in flames; with her breathtaking buildings of the dying Babylon, her graffitied subway-trains, free citizens, black people and orthodox Jews, the capital of the existing but unwanted empire.If you can stand the tropical summer, the crude violence, the empty faces, the unveiled money-battle, the Soho snobbery, the total authority of the Market, you can manage your fate, which is the only tradition here.We did not want to create a play about New York (especially not about America); we have never wanted to create a play about something, because theatre is not about something but it is from something, it is itself; from a given place, from the social and personal forms of life. It is conceptual and existential at the same time. And it is In and From New York where one can come to speak.
Jim Neu's Him or Me
Authors: Bunn Marguerite Oerlemans 
Published: April 2006

Him or Me: a portrait of a detective drama, the second of Jim Neu's plays to be presented in New York, opened at the Squat Theatre on March 9, 1979. The performers were Nancy Shinkle, Carol Mullins, John Nesci, Jim Neu and Bob Feldman, saxophonist. Recorded music was composed by Lenny Pickett. Bill Wert designed the projections. The play was directed by Jim Neu and John Nesci.The audience is seated in tiers of seats facing a square, flat performing area which is quite bare. The large storefront window of the Squat Theatre is concealed by a white backdrop that doubles as a screen and onto which slides are projected from backstage. Lighting, pink and white, is projected from overhead and from two downstage side spots. Scene settings are suggested by light and music with a minimum of props—table, chairs, a divan, etc.
The Theatre of Mistakes
Authors: Creese Robb 
Published: April 2006

More than five years ago, a group of young English artists formed a workshop in London under the direction of Anthony Howell. This group, eventually to be known as the Theatre of Mistakes, uses improvisational exercises—strictly controlled by formal structure—to develop performances.Howell concedes that he was influenced in particular by an exercise of the Living Theatre, used in Paradise Now, in which one person performed an action and another copied it. The interaction was far more interesting to Howell than anything the traditional theatre could offer. And he also felt that this exercise was more significant than the “histrionics” of the Living Theatre because it implied a new means of working in a group to create performance art.For the next two years, such concepts as repetition of each other's actions were used as the basis for exercises for the group, and performances were built from chosen exercises.
Self-Performance: Allan Kaprow's Activities
Authors: Hindman James T. 
Published: April 2006

In March, 1976, the FramartGaiiery of Naples, Italy, sponsored the performance of an original Allan Kaprow work, Maneuvers. By previous arrangement, Kaprow had been commissioned to prepare a performance scenario of his choice to be performed, under his supervision and with his participation, by friends and patrons of the gallery.Kaprow designed and sent on ahead a brief scenario of actions that could be carried out in unspecified locations, private or public, by participants working in couples. No formal audience would be present, and couples would be generally free to choose the place and time for performing each phase of the scenario. Because there would be no direct supervision of the couples as they performed, participants would be on their own to interpret the directions given in the scenario. Any even number could participate in the event.
Oedipus on Via degli Scialoia
Authors: Favari Pietro 
Published: April 2006

For many reasons in Roman theatres, both large and small, you always have to wait at least 20 minutes beyond the announced curtain time. These are vaguely anguishing waits, in which one is forced to stay in the company of strangers in foyers, corridors, and hallways that come to resemble doctors’ waiting rooms. One of these Beckett-like waits became an organic part of Itinerario-Corpo (“Body-Itinerary”), presented by the Teatro Autonomo di Roma from March through June, 1979, on the two upper floors of a private apartment building on Via degli Scialoia.Via degli Scialoia is neither a street of theatres nor of artists, like Via Margutta, nor is it a loft area such as is found in New York City. It is one of a group of streets located north of Piazza del Popolo between the Tiber and the Villa Borghese park.
The Sophocles/Hölderlin Antigone and the System
Authors: Rouse John 
Published: April 2006

Despite various differences in their internal organization, the majority of German theatres share a common profile. They are usually large-scale, publicly-controlled cultural institutions, with more than 80 percent of their budgets covered by public subsidies. Within these complexes, which can include opera and dance facilities, a relatively stable theatre company (artist contracts normally run from one to three years) strives to satisfy the demands of a predominantly subscription audience by mounting as many as fourteen productions a season in full repertory.Such theatres confront their artistic staffs with a number of problems. The pressures created by the subscription system are the worst, but not the only ones. The manifold details concerned with administering such huge physical plants and executing the paperwork that comes with governmental subsidy are handled by a large, expensive bureaucracy with a vested interest in making sure the stamping-out of productions runs smoothly.
Mary Wigman: The Early Years 1913- 1925
Authors: Odom Maggie 
Published: April 2006

The early years of Mary Wigman's career as a dancer involved a search for a new dance form. She found no medium for communication in the dance styles of the early 20th century. The prevailing techniques of ballet and popular stage dancing concerned themselves with unreality and illusion. Isadora Duncan was startling the world by dancing barefoot to the music of the great composers, but her inspiration derived from a bygone era. Mary Wigman's dance was a deeply personal message of its time, and neither the form, the music nor the subject matter of any existing dance style could completely and satisfactorily express this message.Wigman returned to the fundamentals of dance as she examined the expressivity of movement and the function of movement in space with an awareness that was remarkable for its time.
Abstract Spaces: A Workshop Approach
Authors: Cole David 
Published: April 2006

I am going to describe a workshop technique that makes the abstractions of conceptual thought available as physical experiences, and in so doing, makes abstraction itself—usually thought of as a danger to theatre work—available to theatre, both as a subject matter and as an untapped source of performance energies.There is a tendency, in most branches of contemporary thought, to use metaphors of space for all sorts of concepts and relationships that are not in themselves spatial. Literary critics locate the nuances of a word in “semantic space.” Psychiatrists refer to the “therapeutic space” in which they encounter their patients. Anthropologists imagine networks of kin-relationships spread out in “social space.” Musicologists speak of a “harmonic space” within which tones and timbres are distributed.
A Workshop With Ryszard Cieslak
Authors: Ronen Dan 
Published: April 2006

Apocalypsis Cum Figuris marked the last theatrical performance of the Polish Theatre Lab. Although this spectacle is still performed periodically by the group, its members are primarily concerned with different projects. Initially these projects were termed “paratheatre.” The name was transformed gradually and moved outside the realm of legitimate theatre. Grotowski started to use the term Active Culture. Very recently, a new term emerged out of this innovative group of artists: Theatre of Roots (or Roots of Theatre). What exactly this new term brings with it is still to be discovered.The following is a description of a Theatre of Roots workshop led by Ryszard Cieslak of the Polish Theatre Lab and co-led by myself. It was a ten-day workshop that included twenty participants (an even number of men and women) and took place in and around Penn State University.
High‐Throughput Fabrication of Phosphor‐In‐Silica Glass via Injection Molding
Authors: Mohamed Moushira. A. , Ali Mohamed. A. , Shaorun Guo , Liu Xiaofeng , Qiu Jianrong 
Published: February 2024

AbstractPhosphor‐in‐silica glass (PiSG) composite is an excellent candidate for highly stable and efficient color converter in high power white light emitting diodes (wLEDs). However, the high‐throughput fabrication of PiSG with different shapes is still challenging for current techniques. Here this study reports the manufacture of transparent PiSG based on YAG:Ce (Y3Al5O12:Ce3+) using injection molding (IM) technique. In this approach, different shapes of centimeter‐sized YAG:Ce‐PiSG pieces are fabricated by using IM of a YAG:Ce/amorphous silica nanoparticles/thermoplastic polymer composite at low temperatures (@ 150 °C) which afterward are debound (@ 600 °C) and densified (@ 1150 °C). Interestingly, the molding time to produce YAG:Ce/silica/polymer green parts is 5 s per piece, implying the capability for high‐throughput production of YAG:Ce‐PiSG. Furthermore, the as‐fabricated YAG:Ce‐PiSG exhibits high luminescence efficiency (>91%) and high chemical/thermal stabilities. Accordingly, high power wLEDs (10 W) are fabricated using the YAG:Ce‐PiSG which demonstrates high luminous efficiency of 144 lm W−1 at 50 mA, closing to that of the wLEDs fabricated by expensive YAG:Ce ceramic plate (i.e., 149 lm W−1 @ 50 mA). The work provides a facile and universal approach for industry‐scale production of PiSG that can be promising for various photonic applications.
Evaluating surgical expertise with AI‐based automated instrument recognition for robotic distal gastrectomy
Authors: Strong James S. , Furube Tasuku , Takeuchi Masashi , Kawakubo Hirofumi , Maeda Yusuke , Matsuda Satoru , Fukuda Kazumasa , Nakamura Rieko , Kitagawa Yuko 
Published: February 2024

AbstractIntroductionComplexities of robotic distal gastrectomy (RDG) give reason to assess physician's surgical skill. Varying levels in surgical skill affect patient outcomes. We aim to investigate how a novel artificial intelligence (AI) model can be used to evaluate surgical skill in RDG by recognizing surgical instruments.MethodsFifty‐five consecutive robotic surgical videos of RDG for gastric cancer were analyzed. We used Deeplab, a multi‐stage temporal convolutional network, and it trained on 1234 manually annotated images. The model was then tested on 149 annotated images for accuracy. Deep learning metrics such as Intersection over Union (IoU) and accuracy were assessed, and the comparison between experienced and non‐experienced surgeons based on usage of instruments during infrapyloric lymph node dissection was performed.ResultsWe annotated 540 Cadiere forceps, 898 Fenestrated bipolars, 359 Suction tubes, 307 Maryland bipolars, 688 Harmonic scalpels, 400 Staplers, and 59 Large clips. The average IoU and accuracy were 0.82 ± 0.12 and 87.2 ± 11.9% respectively. Moreover, the percentage of each instrument's usage to overall infrapyloric lymphadenectomy duration predicted by AI were compared. The use of Stapler and Large clip were significantly shorter in the experienced group compared to the non‐experienced group.ConclusionsThis study is the first to report that surgical skill can be successfully and accurately determined by an AI model for RDG. Our AI gives us a way to recognize and automatically generate instance segmentation of the surgical instruments present in this procedure. Use of this technology allows unbiased, more accessible RDG surgical skill.
A Domino Protocol toward High‐performance Unsymmetrical Dibenzo[d,d′]thieno[2,3‐b;4,5‐b′]dithiophenes Semiconductors
Authors: Li Jiahui , Wang Pu , Dong Jiaxuan , Xie Ziyi , Tan Xiangyu , Zhou Lu , Ai Liankun , Li Baolin , Wang Yang , Dong Huanli 
Published: February 2024

AbstractUnsymmetric organic semiconductors have many advantages such as good solubility, rich intermolecular interactions for potential various optoelectronic applications. However, their synthesis is more challenging due to intricate structures thus normally suffering tedious synthesis. Herein, we report a trisulfur radical anion (S3⋅−) triggered domino thienannulation strategy for the synthesis of dibenzo[d,d′]thieno[2,3‐b;4,5‐b′]dithiophenes (DBTDTs) using readily available 1‐halo‐2‐ethynylbenzenes as starting materials. This domino protocol features no metal catalyst and the formation of six C−S and one C−C bonds in a one‐pot reaction. Mechanistic study revealed a unique domino radical anion pathway. Single crystal structure analysis of unsymmetric DBTDT shows that its unique unsymmetric structure endows rich and multiple weak S⋅⋅⋅S interactions between molecules, which enables the large intermolecular transfer integrals of 86 meV and efficient charge transport performance with a carrier mobility of 1.52 cm2 V−1 s−1. This study provides a facile and highly efficient synthetic strategy for more high‐performance unsymmetric organic semiconductors.
Triisocyanate Derived Interlayer and High‐Melting‐Point Doping Promoter Boost Operational Stability of Perovskite Solar Cells
Authors: Li Tianyu , Zhang Yuyan , Ren Ming , Mu Yanfei , Zhang Jidong , Yuan Yi , Zhang Min , Wang Peng 
Published: February 2024

AbstractFormamidinium lead triiodide serves as the optimal light‐absorbing layer in single‐junction perovskite solar cells. However, achieving operational stability of high‐efficiency n‐i‐p type devices at elevated temperatures remains challenging. In this work, we implemented effective surface modifications on microcrystalline perovskite films. This involved the nucleophilic addition of formamidinium cations and coordination of residual PbI2 with triphenylmethane triisocyanate as well as subsequent polymerization. The in situ growth of a cross‐linking network chemically anchored on the perovskite film in this approach effectively reduced trap densities, favorably altered surface work function, suppressing interface charge recombination and thus enhancing cell efficiency. Coupled with a high‐melting‐point air‐doping promoter, we fabricated n‐i‐p type perovskite solar cells surpassing 25 % efficiency, demonstrating excellent operational stability at 65 °C.