bluuebunny/crossref_metadata_2025_split huggingface dataset:
Inheritance of Resistance to Sorghum Shoot Fly, Atherigona soccata
Authors: Dhillon M. K. , Sharma H. C. , Reddy B. V. S. , Singh Ram , Naresh J. S. 
Published: April 2006

ABSTRACTThe sorghum shoot fly, Atherigona soccata Rond. (Diptera: Muscidae), is one of the most important pests of sorghum [Sorghum bicolor (L.) Moench], and host plant resistance is an important component for the management of this pest. Most of the sorghum hybrids currently under cultivation are based on cytoplasmic male‐sterility (CMS). To develop a strategy to develop sorghum hybrids with resistance to shoot fly, we studied the nature of gene action for resistance to this pest in F1 hybrids derived from shoot fly‐resistant and ‐susceptible CMS and restorer lines. The hybrids based on shoot fly‐resistant CMS and restorer lines were glossy and trichomed and had lower proportion of plants with eggs (78.5% vs. 88.4 to 93.3%) and deadhearts (40.8% vs. 60.8 to 75.3%) than the hybrids based on other cross combinations, suggesting that resistance is required in both CMS and restorer lines for obtaining shoot fly‐resistant hybrids. Proportional contributions of CMS lines for oviposition, deadhearts, leaf glossiness, and recovery resistance were greater than those of the restorer lines. The general (GCA) and specific combining ability (SCA) estimates suggested that inheritance for oviposition nonpreference, deadhearts, recovery resistance, and the morphological traits associated with resistance or susceptibility to A. soccata were governed by additive‐type of gene action. The SCA effects and heterosis estimates indicated that heterosis breeding would not be rewarding in breeding for resistance to shoot fly.
The Corpse and the Cargo: The Hegelian Past in Ibsen's Naturalistic Cycle
Authors: Johnston Brian 
Published: April 2006

All the dead voices…They speak all at onceEach one to itself …To have lived is not enough for themThey have to talk about itTo be dead is not enough for them …Waiting for GodotWe are in for a sequentiality of improbable possibles…Finnegans WakeContrary to usual assumptions, Ibsen's cycle of 12 naturalistic plays, from Pillars of Society to When We Dead Awaken, is extremely learned work, closer to the writings of James Joyce or T. S. Eliot than to the typical drama of modern realism. The cycle is filled with the sense of history, the accumulations of the spirit of man. Its learning is deeply ingrained in its art, dictating form as well as content: it is unlike the learning of, say, Man and Superman, which is more or less on the surface for the audience's immediate comprehension and enjoyment.
The New Cuban Theatre: A Report
Authors: Tunberg Karl A. 
Published: April 2006

Cuba has had only ten years of revolution. It is a country still struggling to overcome a history of economic imperialism, social oppression, and hurricanes. Before 1959, Cuba was the world's leading supplier of dope and whores, and in Havana alone were the three most famous pornographic theatres in the world. By most standards, however, a Cuban culture, Cuban art, did not exist. (The one exception was the folk culture of the Afro-Cubans which is now flourishing and statesupported.) “Cuban theatre” consisted of a few professional groups in Havana who, by and large, did European imitations aimed at the tiny Cuban bourgeoisie.Since 1959, the Cubans have developed an excellent professional theatre which is open to stylistic experiment; a large public which is much more honest than polite; and amateur theatre on all levels of society—in schools, factories, small towns, hospitals, cane-cutting brigades, youth brigades, the armed forces, etc.
LeRoi Jones’ Slave Ship
Authors: Brecht Stefan 
Published: April 2006

Some time ago, some Europeans, libertarian individualists in the post-Medieval manner, robbed this continent from the natives. In the system of robbery they then set up, 80 percent or more of their children are now the daily victims, laboring for subsistence wages which in dollars are sometimes quite magnificent. Symbol-permutators & machine-operators, servicing, in a tight network of functions, a scientific machine which generates war materials & status symbols but in the main just its own growth, they crazily fancy themselves rough & ready free enterprisers out for themselves & their little families. They are employees. They eat shit. Their lives mean nothing. The machine binds them in enmity to themselves, one another, & nature.A civil war which a century ago sealed these Euro-Americans into their present slavery also initiated the dispersal among them of an Afro-American population, the descendants of savages imported as chattel-slaves. At the bottom of the heap, they have maintained their primitive (communitarian & naturalist) life-stance to this day.
The Chhau Dancers of Purulia
Authors: Arden John 
Published: April 2006

Purulia is a barren and hilly district of West Bengal lying towards the west at the border of Bihar. It is covered at places by dense forests leaving small pockets here and there for agriculture. Rainfall is inadequate and life is extremely difficult. The people who live there are mostly aboriginals and semiaboriginals: they speak a western dialect of Bengali, generally known as Kurmali: as the people are known as Kurmis. Among this people there is prevalent a form of dance known as the Chhau dance … ritualistic in character, and performed ceremonially during the last days of the Bengali year on the occasion of the annual worship of the popular Sun-God…. Every performance starts with the invocation of Ganesha…From an informatory leaflet published by the West Bengal Research Institute of Folk-Culture.
From an Indian Journal
Authors: Rainer Yvonne 
Published: April 2006

Saw a folk opera last night. The form is called Chavittu Natakam, and this particular one is about St. George and the dragon. They give absolutely no attention to production,finesse. They miss cues, they look around “out of character,” the curtain keeps sticking, the two light men run up from the pit where they have been operating the spotlights seemingly at random and carry a banner across the stage, then scamper back down. A photographer walks right onto the stage to take his pictures. Mr. Vasudevan, the PR man for the Kathakali, sat next to me. The only thing that seemed to disturb him was when the lighting guys carried their banner wearing dhotis and Western shirts.It seems more like European opera than Kathakali. It is done indoors in the auditorium of a music academy. Proscenium stage, but no consideration for the formality of a proscenium situation.
After Professionalism
Authors: Bandyopadhyay Samik 
Published: April 2006

The staging of Dinabandu Mitra's Niladarpan, December 1872, marked the beginning of the modern professional Bengali theatre in Calcutta. Before this, performances of Bengali plays were given only for invited audiences in private theatres sponsored by the aristocracy. Jatra, the traditional theatre of Bengal, was of course available to everyone, but the rising middle classes of Calcutta, which had come to favor Western forms of art, regarded it as a corrupt and indecorous entertainment. Jatra, complained the middle-class audiences, followed neither the classical Sanskrit definitions of drama, nor the newly fashionable Western models. Jatra was two-thirds song; the dialogue, improvised during the performance by illiterate players, had no literary distinction; and, unlike the new drama represented by Niladarpan, Jatra used no scenery or permanent stage.Performances of Niladarpan were open to anyone who could afford a ticket, an innovation in Bengali theatre which led to the opening of several other public theatres in the city, each with its company of players, giving regular performances.
Liquid Theatre
Authors: Larsen Lance 
Published: April 2006

Last night we put the James Joyce Memorial Liquid Theatre to rest. It was two years and five months old and it went out very quietly. Too quietly. Just like real life, hmmmm?Of course it will be back, here and there, now and then. We can bring it back, raise it out of its ashes full formed. But then it will be a re-creation of something done once truly without fiction or pretense. The audience last night saw the last real event. They also witnessed The Company Theatre saying goodbye to a life-style.I am full of sentiment on the day after the death of my old friend.But it was a party. It began with a blind walk through a maze and culminated in a kind of ecstasy when the audience and The Company in a giant huddle sent their massed voice through the ceiling to the sky with the high decibel music and danced and shouted and hugged their way to exhaustion.
Luca Ronconi's XX
Authors: Godard Colette 
Published: April 2006

The play XX takes place entirely within a two-story house of twenty rooms. These rooms—ten on each floor—have been constructed around a large hall with stairs. They are connected to each other by doors, which lead into corridors and also from room-to-room. On the second floor, the rooms have windows and through these, as well as through the corridors, the spectator can see theatre seats, in this case those of the Odéon in Paris, dimly outlined in the shadows. Looking upward, one can see the decorative ceiling of the famous Paris theatre. Even before the performance begins, it is simply and clearly established that the spectator [for the purpose of this article, the author] is at the theatre, within theatrical space/time.The play, however, does not begin at the same time for everyone. The relationship between actor and spectator is established on new ground.
1789
Authors: Kirby Victoria Nes 
Published: April 2006

“The revolution must stop at the perfection of happiness.”Saint-Just1789, directed by Ariane Mnouchkine, is a production of the Théâtre du Soleil. It was created in Milan in 1970 at the invitation of the Piccolo Teatro and has been a tremendous popular success during 1970-1971 in Paris. The play is performed in a former cartridge factory and army barracks in the forest of Vincennes, on the eastern outskirts of Paris. Inside the large rectangular building the theatre company has divided the huge space into two parts, cleaned it up, and minimally painted it. One section has become a “lobby,” where tickets are picked up, some costume racks are stored and a photo display of former productions is mounted on panels.
A Work by Joan Jonas Organic Honey's Visual Telepathy
Authors: De Jong Constance 
Published: April 2006

Joan Jonas uses video TV as an imagemaker and conjures herself. Working alone in the studio with the camera, the TV is her toy and her other. She plays with it and constitutes with it. As a form of play, the TV is a fixation. Fascinated by her image on the monitor, she locks into it. Playing with it, she explores the black and white image, relating it to objects and materials … her accumulated special effects. As a form of constituting, the TV supplies an other. The TV image is an opposite: oneself given back as an other. It suggests one who can become a series of identities, a complexity of associations, a series of images.As she used it in the studio, the TV was a mediumistic device … a magic and an instructive tool. It allowed for exploration in privacy and for the making of a solo, video tape.
Theme and Variations
Authors: Israel Robert 
Published: April 2006

On the stage is a table with a folding chair behind it. On the table are a bottle of wine, a wine glass, a bell, a hammer, a book, chalk and a small blackboard propped up so that the spectators can see it. The long booms of three microphones angle down over the table.Between the audience and the stage, three television monitors rest high on a board stretching between two ladders. The spectators may easily watch the television sets and any activity at the table at the same time. Close to the television sets, in the center of the hall, is a television camera aimed at the stage. Below it, technicians sit at video tape recorders.A man—Robert Israel, who conceived the piece—enters the stage. He picks up the hammer; his image appears on the first television screen.
Terayama's Jashumon
Authors: Merin Jennifer 
Published: April 2006

Tenjo Sajiki, which is one of Japan's most famous experimental theatre troupes, was founded in 1967 by Shuji Terayama, the chief director and playwright of the troupe. During the Summer of 1971, they toured several European cities with their piece, Jashumon, written and directed by Terayama. The theme of the six-scene play concerns the tragic nature of the family as an institution, which is characteristic of traditional Japanese society. The plot revolves around the enormous emotional and economic interdependence of Yamataro, the son, and Ogin, his aging mother.What follows is a description of the production of Jashumon, which was presented at the Nancy International Theatre Festival, Nancy, France, on April 28th and 29th, 1971. Shigeo Takenaga assisted Terayama with the direction of the piece. The sets were designed by Ryoichi Enomoto.
Meyerhold's Production of The Magnificent Cuckold
Authors: Worrall Nick 
Published: April 2006

On the 20th of April 1922, having rehearsed with a scratch cast of actors for less than a week, Meyerhold mounted a production (his fifth version) of Ibsen's “Nora” (A Doll's House). The performance took place at the Actors’ Theatre in Moscow (formerly the “Nezlobin”) and the set consisted of old Nezlobin flats with their painted surfaces reversed, arranged in a fairly indiscriminate manner against the back and side walls of the stage.A few days after this, on the 25th of April, this time with a fully trained cast of actors from his own Workshop, Meyerhold staged a production of the Belgian dramatist Fernand Crommelynck's lyric farce in three acts, The Magnificent Cuckold (Le Cocu Magnifique) with Constructivist decor by Liubov Popova.
Robert Wilson's Ka Mountain and Guardenia Terrace
Authors: Trilling Ossia 
Published: April 2006

Robert Wilson first came to public notice when he staged The Life and Time of Sigmund Freud at the Brooklyn Academy of Music in 1970. He began to acquire his growing international reputation the following year when Deafman Glance transferred from Brooklyn to Paris, via the Nancy Festival. In Paris, he provoked as much adulation as dismissal, both public and critical. One convert to his theatrical style was Louis Aragon, who saw in Wilson the logical heir to the Surrealists. Aragon once belonged to the Surrealist movement but turned his back on it. It now seems he is willing to take it seriously once more, thanks to Wilson. If Wilson achieves nothing more, that alone would be worth the effort.His Paris success at the Théâtre de Paris and a newly devised companion piece in a radically different manner called Prelude that was centrally staged in one of the auditoriums of the Espace Cardin earned Wilson an invitation to the Shiraz Festival in 1972 in Iran.
An Audience-Structure for: The Balcony
Authors: Zanotto Ilka Marinho 
Published: April 2006

The Balcony opened at the Ruth Escobar Theatre in São Raulo, Brazil, on December 27, 1969; it was performed through 1971 and during most of 1972 and was seen by thousands of people. In this presentation of Jean Genet's play, which was directed by Victor Garcia and designed by Wladimir Pereira Cardoso, the theatre became the scenery itself—a sculpture inside of which the actors played, flying in the air.Wladimir pereira Cardoso, 39, is a former student of Architecture and Fine Arts whose theatrical designs have won several national prizes (including one for The Monsters, directed by Jérôme Savary, who now leads The Grand Magic Circus). When Garcia arrived in Brazil to work for Ruth Escobar, he found Cardoso ready with sixteen sketches for the reformation of scenic space. They were deeply influenced by Walter Gropius’ conception of Total Theatre.
Chicano Theatre: El Festival de los Teatros Chicanos
Authors: Copelin David 
Published: April 2006

Teatro Chicano is perhaps one of the best kept secrets in North American theatre today.Jorge A. Huerta, Teatro de la Esperanza, Santa Barbara, CaliforniaThe fourth annual Festival de los Teatros Chicanos was held in San Jose, California, on June 15-24, 1973. It was a gathering of teatros from the many different regions in the United States where Chicanos—persons of Mexican-American descent—have settled. There also were several theatre groups from Mexico itself.Chicano theatre has roots in the ancient culture of the Mayans, but its contemporary awakening dates from 1965, when Luis Valdez first organized El Teatro Campesino, a theatre based in San Juan Bautista, that played in the fields for the huelgistas (strikers) of the United Farm Workers in support of the strikes and boycotts against table grapes and, more recently, iceberg lettuce.
The Living Theatre's Money Tower
Authors: Ryan Paul Ryder 
Published: April 2006

We have moved into the position now of where we are more concerned with being directly a part of the political activity of our time than we are with being a part of the theatrical activity of our time.” So said Julian Beck of The Living Theater. He was speaking in the somewhat derelict three-story brownstone near the Brooklyn Academy of Music that has been the home of the twenty-member collective for the last couple of years. Judith Malina, Beck's wife and co-founder of the theatre, explained that on January 1st of this year The Living had begun another rehearsal phase in its development of The Legacy of Cain, a cycle of some 150 plays to be performed not in theatres but throughout a city.The Legacy of Cain is a unique theatrical/political piece. The Living collective has been working on the development of the cycle for four-and-a-half years, and it is estimated that it is at least three or four years from culmination.
Foreman's PAIN(T) and Vertical Mobility
Authors: Davy Kate 
Published: April 2006

All of my art is concerned with the problem of consciousness, the structure of consciousness, and, specifically, with the problem of making art.Richard ForemanIn order to deal with an artist's rehearsal techniques, it is necessary to discuss a particular system or process; in Richard Foreman's work process is important. Foreman has been producing his plays for five years and, although there have been changes, his esthetic and style have remained distinctively constant; partially because he is concerned with the problem and process of making art. He wants the spectator to notice not only the “art that is made” but also that “art is being made.”
Black Critics on Black Theatre in America
Authors: Jeyifous Abiodun 
Published: April 2006

One of the highest priority items among those of us who are concerned with the history, theory, and criticism of Afro-American theatre is a redefinition of Afro-American theatre within the framework of Afro-American culture. We must not continue to accept a Euro-American concept of what constitutes a good play or a bad play, how an audience ought to behave, and so on. If we do, we will never even begin to discover the vast and beautiful and exciting history of our own theatre.Carlton W. Molette, 1970Until 1965, when Imamu Amiri Baraka and others founded The Black Arts Repertory Theatre and School, there was not a black theatre but an “American theatre of Negro participation” (the phrase is Clayton Riley’s, I think). The Negro Digest’s commemoration of black theatre in a 1968 issue was titled “Black Theatre: From Shakespeare to LeRoi Jones.” It contained a photographic galaxy of the “stars” of black theatre: actors, actresses, and other performers predominated over playwrights and directors. The point, of course, is that the major playwrights, producers, and directors in this black theatre were white. In practically all the histories of black theatre (except Loften Mitchell’s Black Drama), one finds that the black actors and performers played merely supporting roles to the true white heroes of this black theatre.
Japanese Political Theatre in Context
Authors: Goodman David 
Published: April 2006

The political character of Theatre Center 68/71, a Japanese troupe based in Tokyo, is best understood as part of the historical space within which it operates. This space may be delineated in terms of three coordinates: the murderous disunity of the Japanese New Left, the popular evasion of historical accountability facilitated by the “split-level” nature of Japanese historical consciousness, and the need to enunciate revolution as a redemption of history, as a plausible goal in the Japanese intellectual and linguistic context.At approximately six o'clock on the morning of March 14, a male caller identifying himself only as a member of the Revolutionary Marxist League (Kakumaru) telephoned the Police Press Club in Tokyo. “This morning at 3:22 we torpedoed Chūkaku's Honda at an apartment in Higashi Kawaguchi. This is in repayment for an attack on our comrade Namba Tsuyoshi and is intended to show what happens to people like Chūkaku, who become the willing pawns of bourgeois power.”
The Shaliko Company's: The Measures Taken
Authors: Vicentini Claudio 
Published: April 2006

“And what baseness would you not commit could you rid the world of all baseness?”-Brecht.For the Shaliko Company, rehearsals for The Measures Taken, which began in January, 1974, became a way of “studying the paradoxes of radical commitment.” Leonard Shapiro, the director, commented that “Patty Hearst was kidnapped at about the same time we started to work on the play, and that certainly influenced the way we worked at it.” The Brechtian Lehrstück, he felt, was directly related to the problem of political terrorism. “In 1930,” Shapiro explained, “everything was falling apart in Germany. The need to pull together behind the Communist Party seemed like the only thing that could have saved the country from Hitler.” The problem illustrated by the play about the political necessity of killing a comrade was at that time related to the problem of obedience to the party.
The San Francisco Mime Troupe's: The Mother
Authors: Gordon Mel 
Published: April 2006

To me The Mother is one of Brecht's worst plays, sentimental and party-dogmatic. Later on in his career, I tell them [Denny Stevens and Steve Friedman of the Mime Troupe], he [Brecht] learned how to do these things much better, how to sink dialectic into the human situation…. And when I insist on the play's being a lesser work, I get a very cold smile from Steve: “We disagree entirely.”Review by Michael Feingold in the Village Voice (2 December 1974)Written in 1930-1931 after a Party directive to bring more women into the various German Communist organizations and first produced in January, 1932, Brecht's adaptation of the well-known Maxim Gorky novel, The Mother, was the subject of an intense esthetic and political debate among theatre critics and left-based theatre workers.
Experiments in the Art of the Dance
Authors: Foregger Nikolai 
Published: April 2006

The contemporary era is a working era. Every day, every hour—a new thrust forward, a new blow at the dying order. Simplicity, precision, expediency—these are the requirements called for in works of art. “I create-as the bird sings”; “I am above all and create what my leg desires”; “Art is accidental”; “Art for art's sake,” are phrases that now have been forgotten. The muses have become production workers and have dispersed to their respective trade unions. They meet not on Olympus but at the All Union Central Council of Trade Unions (VTSPS), and are summoned not by Apollo but by Tomski.The dance fulfills certain functions, strengthens the basics for self-discipline in the masses, provides practice for the learning and mastery of rhythm (mass dances), which is so necessary in all labor processes. It can be said that the work of the Scientific Organization of Labor (NOT) is the inculcation of the dancing instinct in industrial manufacturing.