bluuebunny/crossref_metadata_2025_split huggingface dataset:
Chinese-American Theatre
Authors: Wong Yen Lu 
Published: April 2006

Ask anyone—almost anyone—about Chinese theatre in America and you'll get fast directions to Chinatown, be it New York, San Francisco or Los Angeles, and assurances that there you can see the real thing. What they mean are the numerous productions of Peking Opera, or sometimes Cantonese Opera, that take place every year.But walk the streets of any Chinatown; push your way through dense crowds; meet the kids split between life at school and at home; come to know the garment workers in the sweatshops on the second floor above the restaurants, grocery stores and souvenir shops; hang around the steaming restaurant kitchens for awhile, and you'll be forced to wonder what all this has to do with those elaborate stories of princesses, kings and courtiers, sung in dialects that almost no one can follow without assistance, of a past time that has become a never-never land.
Joseph Chaikin the Actor
Authors: Kellman Alice J. 
Published: April 2006

The eight-week run of Georg Büchner's Woyzeck at the New York Shakespeare Festival Public Theatre in March and April saw his first major acting since his days with The Living Theatre.In the ten years (1963-1973) that Chaikin served as director in The Open Theatre, the company he founded, he rarely acted. He had very little interest in performing, and yet “I still defined myself not as a director, but much more as an actor. I still do.”Chaikin is still uncertain as to why he was drawn to acting, except perhaps as an escape, a way to “get out of this crummy Brooklyn context that was my life, whereas the theatre and the radio and the movies seemed like they were these other orbits of existence.” Determinism also played a role, since Chaikin did—and still does to a certain extent—view acting as a chosen lifestyle, a way to “pick the kind of life you'd want to work in.” Acting provided a tremendous sense of freedom.
The Welfare State Theatre
Authors: Shank Theodore 
Published: April 2006

The itinerant “fringe” or “experimental” theatre groups supported by the Arts Council of Great Britain can be divided into those concerned solely with esthetic expression and those that aim at social efficacy. The latter can be further divided into those with “political” intentions and those with “social” objectives. There are revolutionary socialist theatre groups, often comprised of Marxists, who play almost exclusively for trade union members at meetings and workingmen's clubs, attempting to raise political awareness with respect to the worker in a capitalist society and to stimulate discussion about political problems. And there are theatre groups that do not consider their work overtly political who make plays dealing with the problems of certain constituencies such as teachers, children, old people, prisoners, women, or gays, sometimes involving them in theatrical activities as a kind of therapy.In 1976-77 the largest Arts Council subsidy received by a “fringe” or “experimental“ group went to the Welfare State Theatre, which refuses to be placed in any of these categories.
Spirochete and the War on Syphilis
Authors: O'Connor John S. 
Published: April 2006

The Living Newspapers are among the most famous productions of the Federal Theatre Project (1935-39). Across the nation, tens of thousands of citizens saw various “editions” of these topical dramas. They were exciting theatre and effective documentary. They experimented with such stage devices as levels, masks, lighting, projection, and a loudspeaker, and they enlivened the “reporting of actual truth” through episodic scenes that were sometimes realistic, sometimes expressionistic. Since the closing of the Federal Theatre and the virtual death of the Living Newspaper, documentaries have generally become less theatrical and more detached.Though the stated intent of the Living Newspaper was merely to dramatize the news, most observers found a clear editorial viewpoint. The plays usually ended with the mention of a specific piece of legislation or a critical case currently in the courts that the audience should support.
Patrice Chereau Poets Invent the Future
Authors: Godard Colette 
Published: April 2006

Peasant women are chattering. Young aristocrats dressed in three-cornered hats and Brandenburg jackets, but with their eyes hidden behind dark glasses, slouch around a little red ochre square, where some white sheets are drying. Patrice Chereau, eighteen years old, has gotten hold of a play by Marivaux, a little-known work, The Inheritor of the Village; he sees himself labeled with a trademark that will never leave him—insolence.The insolence of a young dandy, rich, cultivated, who gets his kicks by drawing mustaches on family portraits, say his detractors. The subversive insolence of the poet who breaks down the doors of all the prisons, including cultural ones, say his supporters. Chereau receives the attacks and the homages with a cantankerous selfassurance, with the haughty disdain of a man who knows he is going to be king.
Group Altro's ICS
Authors: Applin Denise 
Published: April 2006

Altro was founded in 1972 in Rome by Achille Perilli, an artist, with the two fundamental and complementary ideas of collective work and intercode creation. Perilli, who originally worked as an artistic collaborator with only one actor, was subsequently joined by Lucia LaTour, an architect who does most of the choreography; Walter Branchi, a composer; and Bruno Magno, a photographer and lighting technician. Luciano Martinis and Gianni Trozzi have been working with the group from the beginning.The idea of intercode creation has often extended beyond theatrical performance to workshop activities, political seminars, photographic exhibitions, concert series, and a lecture on linguistics. Of nine projects to date, only five have been performances; and some of those performances have included related “side shows.”
Gay Analysis
Authors: Patrick Robert 
Published: April 2006

The first point of gay analytical guidelines is personal: Is that character gay? Is that character like me?The second point is political: Is that a good way to represent me? How does that reflect on me?The third is esthetic: Do I like being represented that way?The fourth is psychological: Is what I am seeing the work of the oppressors, or the work of oppressed brothers and sisters; i.e., is this how they think?The fifth is philosophical: Why do people represent other people that way? What does it do? Is it good or bad to represent people that way? In what way is it good and/or bad? How could it be improved?
Aleister Crowley’s Rites of Eleusis
Authors: Brown J. F. 
Published: April 2006

It had been placed there by Aleister Crowley, occult magician, poet, and author of the advertised ceremonies. It was located directly at the end of an article that rapturously praised a preview of the Rites held during the past summer. The article was signed “P.”—certainly not the most inventive of Crowley's numerous pseudonyms, which included “Lord Boleskine,” “Oliver Haddo,” “Count Vladimir Svareff,” and his favorite, “The Beast.”Crowley's predilection for fictive names was matched by his fascination with costume, whether it was the leopard-skin robe he wore as a Magician of the Golden Dawn, the black gown of the alchemist, the Headdress of Horus with the eye in the triangle, or, as “Baphomet,” full Masonic regalia. The theatrical urge in Crowley becomes apparent from whatever direction he is viewed. His early interest in the occult and its secret systems of knowledge was quickly focused on ritual magic. His poetry was soon elaborated into dense mystery plays. He even dramatized the personality conflicts between himself and others—William Butler Yeats, for one—by engaging them in “magical combat.”The Rites of Eleusis occurred in Aleister Crowley's life at a point midway between a series of visions he had in North Africa in 1909, which revealed to him his true nature as a Magus, and his involvement with a secret society called the O.T.O. in 1912, from whom he learned the rudiments of the sex-magic that obsessed him for years. He was 35 years old at the time of the performances. The persecution by the press, which was to last until he died in i947, had not yet begun. He saw himself as the prophet of a new religion— Crowleyanity—and the Rites were to be his first great evangelization.
Madeleine: Two Reviews
Authors: Marx Henry 
Published: April 2006

Madeleine-Madelaine-Madeleine G.-Madame Madeleine-Madame Magdaleine—the many names under which the famous “sleep dancer” appeared early this century in Europe, only heightens the mystery surrounding her. We do not precisely know where she hails from nor do we know anything about her fate after closing out a strange dancing career of roughly one decade. She lived in Munich, but most certainly was not born there, and no information is available as to when and where her death occurred.Two famous Munich painters—Fritz August von Kaulbach and Albert von Keller—made portraits of her on which she looks beautiful, even-faced, dark-haired, with extremely bushy eyebrows, protruding Jaws and a low nose bridge. In photographs she always wears a white wrap-around, with her eyes mostly closed.
Mitchell's Death: Linda Montano's Autobiographical Performance
Authors: Shank Theodore 
Published: April 2006

Since 1973 the California artist Linda Montano has used her own life—past and present—as material for her performances. After her estranged husband died of a self-inflicted gunshot wound in August 1977, her work focused on reactions to his death.Some of her earlier performances consisted of her usual activities being observed by others, in 1973, when she lived in San Francisco, she sent announcements to her friends saying that she would stay home for a week and would be available. She photographed everyone who visited during the week and documented food intake, telephone calls, and dreams. In other events she lived-in at several galleries and on the beach for three days at a time. In one of these events, she was blindfolded; in another she listened to her heart murmur with a stethescope. These living events are “framed“ for the viewer by being removed from their usual context.
Squat Theatre Underground, 1972-1976
Authors: O'Quinn Jim 
Published: April 2006

The now-expatriate Hungarian theatre company Squat performed a new work called The Skanzen Killers in January, 1972, in Kassak, a suburb of Budapest. After one performance at the town culture house, the group's license to perform was withdrawn by government authorities on the grounds that the play was “obscene” and “apt to be misinterpreted from a political point of view.” For the next four years Squat went underground.Between the time of The Skanzen Killers and the group's problem-ridden emigration to France in 1976, the fifth floor apartment of Squat members Peter Halasz and Anna Koos in Kassak became an outlaw theatre. Here more than a dozen complete experimental theatre pieces were developed and presented in private performances for friends, theatre aficionados, artists in various fields, and political sympathizers. The group also performed privately in an unused country chapel and in a sand pit on an uninhabited island.
Laurie Anderson: Performance Artist
Authors: Gordon Mel 
Published: April 2006

I always felt it was a mistake being labeled as an autobiographical artist.[…] Most of the work that I do is two-part or stereo, not monolithic at all—so there's always the yes/no, he/she, or whatever pairs I'm working with.Laurie Anderson, 1979Since her first performance work in 1974, Laurie Anderson has found herself concerned with a basic esthetic dilemma that has troubled a number of other performance artists: how to create an intensely personal art that is not just simple autobiography. How can the performer/author bring raw, unmediated materials from his/her life and structure them to strike a balance between his/her own needs and those of the audience? For Anderson, the resolution is not only intellectual but technical; it is one that leads to a new performance style.
Habima's The Golem
Authors: Citron Atay 
Published: April 2006

After The Dybbuk, The Golem was Habima's most acclaimed production. It opened on March 15, 1925, when Habima was still a studio of the Moscow Art Theatre, and since then it has run for 340 performances on three continents. In 1926, the company toured Europe and the United States, performing The Golem with two other plays. When the company visited Palestine in 1928, the play was revived, and later, in 1948, it was staged in America again. In New York, it was chosen—on the basis of box office demand—as an extra bill for the final week of Habima's season at the Broadway Theatre. In 1954, The Golem represented Israel in the First International Theatre Festival in Paris.The production excelled in its acting, being a perfect example of the unique expressionistic style that made the Habima players so famous in The Dybbuk.
The Jewish Theatre Festival 1980
Authors: Margolis Tina , Weinacht Susan , Frick John 
Published: April 2006

During the mid-1970s the impetus for founding a Jewish Theatre Association stemmed from the energy and commitment of two individuals. Although living over a thousand miles apart and of different professional backgrounds, Norman Fedder and Steve Reisner each simultaneously began exploring his Jewish heritage through theatre. Increasingly fascinated and moved by these experiences, each felt the need to form a theatre organization specifically devoted to the Jewish experience.In 1972, Norman Fedder, the head of the Playwrights Workshop at Kansas State University, directed a student's play based on the life of Jeremiah. As Fedder recalls, the discussion with the audience which followed “was one of the most exciting experiences I ever had in the theatre.” As a result of this performance, Fedder, a dramatist with many community productions to his credit, was commissioned to write and direct other works with religious themes for several churches and synagogues.
Brecht's Fatzer: Experiments in Discourse Making
Authors: Wirth Andrzej 
Published: April 2006

European theatrical thinking of the last fifty years is dominated by the urge to make theatre theatrical. This urge was a reaction against the text-dominated theatre of the preceding era. Artaud, with his program of the Theatre of Cruelty, became the most radical speaker of this thinking and a trendsetter.Artaud's contemporary, Brecht, coming from a country where a literary theatre was at home and institutionalized (Bildungstheater), demanded an intensification of its literary, “scripted” character. Brecht's postuiation of the “Literarisierung des Theaters” found the most radical application in his theory of a Lehrstück. As a matter of fact, in a way typical of Brecht's subversive strategies, it meant a sublation of the traditional notion of a literary bourgeois theatre. Nevertheless, his postuiation pronounces a program opposed to Artaud: theatre does not need to be theatricalIn Brecht's concept of a Lehrstück, it meant an elimination of an audience and a new genus proximum for theatre: learning instead of spectating or, more precisely, collective text reading.
Rasputin: A Technical Recreation
Authors: Mildenberger Marianne 
Published: April 2006

The following is an attempt to reconstruct the total course of a performance of Rasputin, with special consideration to the technical data. Rasputin is the single production of the Piscatorbühne for which such a reconstruction is possible with certainty, making use of available material which has been preserved. Serving as support are the sketches by Erwin Piscator from his book Das politische Theater; an essay by Julius Richter, the technical manager of the Piscatorbühne (Rasputin/Nach der Aufführung der Piscator-Bühne in: “Die Scene” 1928, Nr.2, p.40f); notes on the technical course of “Rasputin” made by the technical office of the Piscatorbühne (Rasputin. Notes on the technical operation. Theatermuseum Clara-Ziegler-Stiftung. München) and various reviews of the production.At the beginning of the play, the hemisphere, with the playing areas set for the first part, is completely closed. At the sound of a gong, the stage, with closed dome, revolves a half turn to the left.
Tunable DNA Cleavage by Intercalating Peptidoconjugates
Authors: Mahon Kerry P. , Roy Marc D. , Carreon Jay R. , Prestwich Erin G. , Rouge Jessica L. , Shin Stephanie , Kelley Shana O. 
Published: April 2006

AbstractThe properties of a novel family of peptide‐based DNA‐cleavage agents are described. Examination of the DNA‐cleavage activities of a systematic series of peptide–intercalator conjugates revealed trends that show a strong dependence on peptide sequence. Conjugates differing by a single residue displayed reactivities that varied over a wide range. The cleavage activity was modulated by the electrostatic or steric qualities of individual amino acids. Isomeric conjugates that differed in the position of the tether also exhibited different reactivities. The mechanism of DNA cleavage for these compounds was also probed and was determined to involve hydrogen‐atom abstraction from the DNA backbone. Previous studies of these compounds indicated that amino acid peroxides were the active agents in the cleavage reaction; in this report, the chemistry underlying the reaction is characterized. The results reported provide insight into how peptide sequences can be manipulated to produce biomimetic compounds.
Enantioselective 2‐hydroxylation of RS‐8359, a selective and reversible MAO‐A inhibitor, by cytochrome P450 in mouse and rat liver microsomes
Authors: Itoh Kunio , Nishiya Yumi , Takasaki Wataru , Adachi Mayuko , Tanaka Yorihisa 
Published: April 2006

AbstractRS‐8359, (±)‐4‐(4‐cyanoanilino)‐5,6‐dihydro‐7‐hydroxy‐7H‐cyclopenta[d]‐pyrimidine is a racemic compound with a selective and reversible monoamine oxidase A (MAO‐A) inhibition activity. The substrate and product enantioselectivity with respect to 2‐hydroxylation of RS‐8359 enantiomers was studied using mouse and rat liver microsomes. In mice, the (S)‐enantiomer was transformed to the cis‐diol metabolite, whereas the (R)‐enantiomer to the trans‐diol metabolite. The Vmax/Km value for the formation of the cis‐diol metabolite from the (S)‐enantiomer was sevenfold greater than that for the formation of the trans‐diol metabolite from the (R)‐enantiomer. The greater Vmax/Km value for the (S)‐enantiomer was due to the tenfold smaller Km value compared to that for the (R)‐enantiomer. The results were in fair agreement with the previously reported low plasma concentrations of the (S)‐enantiomer and the high recovery of the cis‐diol metabolite derived from the (S)‐enantiomer in urine after oral administration of RS‐8359 to mice. Similarly to mice, in rats the (R)‐enantiomer was transformed to the trans‐diol metabolite, whereas the (S)‐enantiomer yielded the cis‐diol and trans‐diol metabolites. The Vmax/Km value for the (R)‐enantiomer was larger than that for the (S)‐enantiomer in rats, indicating that the low plasma concentration of the (S)‐enantiomer in rats might be caused by a metabolic reaction other than P450‐dependent hydroxylation. CYP3A was shown to be responsible for the trans‐diol formation from the (R)‐enantiomer. Chirality, 2006. © 2006 Wiley‐Liss, Inc.
Synthesis, Structures and Catecholase Activity of a New Series of Dicopper(II) Complexes of Reduced Schiff Base Ligands
Authors: Sreenivasulu Bellam , Zhao Fei , Gao Song , Vittal Jagadese J. 
Published: April 2006

AbstractA series of dinuclear CuII complexes of reduced Schiff bases from substituted salicylaldehydes and amino acids have been synthesized and characterized. They are: [Cu2(RScp11)2(H2O)2] {H2RScp11 = 1‐[(2‐hydroxy‐5‐R‐benzyl)amino]cyclopentane‐1‐carboxylic acid; R = H (1), Cl (2), CH3 (3), OH (4)}, [Cu2(RSch11)2(H2O)x] {H2RSch11 = 1‐[(2‐hydroxy‐5‐R‐benzyl)amino]cyclohexane‐1‐carboxylic acid; R = H and x = 1 (5), R = Cl and x = 2 (6), R = CH3 and x = 2 (7)}, [Cu2(RSch12)2(H2O)2] {H2RSch12 = 2‐[(2‐hydroxy‐5‐R‐benzyl)amino]cyclohexane‐1‐carboxylic acid; R = H (8), CH3 (10) and [Cu2(ClSch12)2]·2H2O (9)}, [Cu2(Diala5)2(H2O)2]·H2O [H3Diala5 = N‐(2,5‐dihydroxybenzyl)‐L‐alanine] (11), [Cu2(Diala4)2(H2O)2]·H2O [H3Diala4 = N‐(2,4‐dihydroxybenzyl)‐L‐alanine] (12), and [Cu2(Diala3)2(H2O)2]·H2O [H3Diala3 = N‐(2,3‐dihydroxybenzyl)‐L‐alanine] (13). They were isolated and characterized by chemical and spectroscopic methods. Single crystal X‐ray crystallographic studies have revealed that [Cu2(Scp11)2(MeOH)2] (1a), [Cu2(ClScp11)2(DMF)(H2O)]·MeCN (2a), [Cu2(MeScp11)2(MeOH)2]·2 MeOH (3a), [Cu2(ClSch11)2(MeOH)2]·2 MeOH (6a), [Cu2(ClSch12)2]·2 MeOH (9a), and [Cu2(Diala4)2(DMSO)2]·2 DMSO·2 acetone (12a) have 1D hydrogen‐bonded polymeric structures while 4 has a 3D hydrogen‐bonded network structure. Complex 8 displays a 2D coordination polymeric network structure. The complexes 1–13 have been investigated as functional models for the catechol oxidase by employing 3,5‐di‐tert‐butylcatechol as a model substrate. Electron‐withdrawing substituents reduced the activity while electron‐donating substituents enhanced the activity. Variable‐temperature magnetic studies conducted on compound 8 suggest the presence of strong inter‐dimer antiferromagnetic coupling. (© Wiley‐VCH Verlag GmbH & Co. KGaA, 69451 Weinheim, Germany, 2006)
Synthesis of 1,5‐Substituted Iminodibenzo[b,f][1,5]diazocine, an Analogue of Tröger’s Base
Authors: Leganza Alessandro , Bezze Chiara , Zonta Cristiano , Fabris Fabrizio , De Lucchi Ottorino , Linden Anthony 
Published: April 2006

AbstractA method for the synthesis of 1,5‐disubstituted iminodibenzo[b,f][1,5]diazocines is presented. The synthesis is achieved by the metal‐free cyclization of 2‐aminophenyl ketimines using the corresponding 2‐aminophenyl ketone as the catalyst. The synthesis gives new insight into the mechanism of formation of this class of compounds. The presence of potential sites for hydrogen‐bond formation and two aromatic bromine atoms available for functionalization make these targets attractive for further development in supramolecular chemistry. The structure of the complex derived from the iminodibenzo[b,f][1,5]diazocine and PdCl2 was determined by X‐ray crystallography. (© Wiley‐VCH Verlag GmbH & Co. KGaA, 69451 Weinheim, Germany, 2006)
Central bank interventions in industrialized countries: a characterization based on survey results
Authors: Lecourt Christelle , Raymond Helene 
Published: April 2006

AbstractThis paper presents the findings from a survey on central banks' FOREX intervention practices in industrialized countries over the last decade. The answers of responding monetary authorities are examined with respect to available data and literature. Our findings indicate that interventions usually take place during normal working hours while central banks show some preference for dealing with major domestic banks. Correction or prevention of long‐term misalignments of exchange rates with their fundamental values and, to a lesser extent, the reduction of exchange rate volatility is the first motive given for intervention. The signalling effect of interventions is consistently put forward as the main channel through which interventions work. Copyright © 2006 John Wiley & Sons, Ltd.