bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Sagra Delia Croce [Sicily]
Authors: Vicentini Claudio 
Published: April 2006

The Sagra della Croce is a three-day parade and celebration that takes place once a year, in May, in Casteltermini, a town of about 10,000 people in Sicily. The parade is performed in honor of a wooden cross that, according to an old legend, was miraculously found several centuries ago by a cow in the fields near the town. The cross is kept in a small church (the Chiesa di Santa Croce) on the hills about two miles from Casteltermini. Preparation for the Sagra takes the whole year and comprises a large part of the town's social life.The Sagra has been performed for several hundred years. Originally it was prepared and performed by three “ceti” (guilds): the pecorai (shepherds), the borgesi (farmers)—who also included the burdunara (muleteers)—and the schetti (bachelors).
The Mevlana Ceremony [Turkey]
Authors: And Metin 
Published: April 2006

Come, come whoever you are,An unbeliever, a fire-worshipper come.Our convent is not of desperation.Even if you have broken your vows a hundred times,Come, come again.On December 17, 1273 A.D., a universal genius, one of the greatest servants of humanity, the founder of the Mevlevi Sufi Brotherhood, the poet Mevlana Jalal al-din Rumi died at Konya. He was a philosopher and mystic of Islam, but not a Muslim of the orthodox type. His doctrine advocates unlimited tolerance, positive reasoning, goodness and charity, awareness through love. To him and to his disciples all religions are more or less good, as all are roads leading to the truth. Looking with the same eye on Muslim, Jew and Christian alike, his peaceful and tolerant teaching has reached men of all sects and creeds.
Soon 3's Black Water Echo
Authors: Simmer Bill 
Published: April 2006

Alan Finneran, the director of Soon 3, came from San Francisco to the festival with a new piece called Black Water Echo. Finneran refers to the piece as a “task activated performance landscape.” He means that the performance consists primarily of a series of precise tasks, the performance of which alters the space (or landscape) of the piece, thereby dictating a new series of tasks that will further alter the landscape, dictating yet another series of tasks, and so on. By the end, the landscape has been radically changed and the audience has witnessed an entire biography of that change.The basic landscape of Black Water Echo is a twenty foot square, marked on the floor with a covering of dark plastic. As the audience enters, the square is nearly empty: along its edges are arranged a series of objects that will be used throughout the performance.
Cfr.'s Ostal
Authors: Parnes Uzi 
Published: April 2006

Ostal, the home environment as a workshop in madness, is a series of performance pieces produced by the Italian experimental group Cfr., directed by Aldo Rostagno. Ostal was performed by the group in New York for two weeks in April 1977.Ostal [pr.: oo-stou’(t)] is a word of Languedocien, the dialectal variant of Old Provencal spoken in Southern France west of the Rhone. Ostal meant house, when the house was abode and temple at the same time, a sacred place where life was celebrated as a ritual—as opposed to the home of present days, a jungle of electrical appliances in which we cultivate our private neurosis.The Cfr. (short for confrontation) was founded by Rostagno in 1975, after leaving the U.S. and returning to his native Italy.
Ouroboros’ The Death of Geometry
Authors: Prosperi Mario 
Published: April 2006

The group Ouroboros takes its name from an alchemical symbol: a dragon that forms a perfect circle by holding its tail in its mouth. The symbol, according to the group, alludes to the structuralist tenet of the perfect autonomy of the signifier.Pier Luigi Pieralli, the director of Ouroboros, created The Death of Geometry from a poem by Giuliano Scabia. The poem has the same relationship to the performance as it might have, for example, to a musical composition by Morton Feldman. The words are rendered “musical” by being stripped of any verbal value. Syllables are isolated, protracted and repeated; they proliferate other sounds (some of which are on tape) and the cumulative effect is rather meditative in a way that recalls Cage.
The Shaggy Dog Animation
Authors: Nyeboe Ingrid 
Published: April 2006

The group Mabou Mines is named after a small town in Nova Scotia. The members are Lee Breuer, Ruth Maleczech, David Warrilow, JoAnne Akalaitis, Frederick Neumann, William Raymond and Terry O'Reilly. The Shaggy Dog Animation is the third piece by Lee Breuer in a series of animation plays that began in early 1970 with The Red Horse Animation; The B. Beaver Animation followed some years later.The term “animation” is used both in its original definition “to make alive,” as well as in relation to the animated cartoon. In The Shaggy Dog Animation, the actors come “alive” primarily through being hooked up to the sound system. This means that they are not controlling the final sound output. Volume, amplification and distortion are controlled by an Eden Harmonizer. Thus the actors can refrain from projecting their voices. The employment of a puppet manipulated by several actors is another example of “making alive.”
The Actual As Bizarre: Assaulting the Sensibilities of the Audience
Authors: Shank Theodore 
Published: April 2006

Some bizarre elements used in recent English performances are so startling or threatening or shocking to audience sensibilities that the dramatic illusion is broken. The spectator becomes aware of himself as being in the same time and space as the element rather than relating to it as if it were only fictional. In such instances the viewer responds as he would to other real-world events.Traditionally, a theatre performance consists of an illusion created out of various actual materials including sound, paint, furniture, the bodies of performers, makeup, etc. Care is taken not to call attention to these materials because focus on them would break the fictional-world illusion. An attempt is made to assimilate into the illusion everything that falls within the space and time delineated by the work, although occasionally a mistake may cause the actual material to break out of the illusion—for example if an actor obviously forgets a line or a chair accidentally falls over. Such disruptions of the illusion are obstacles to the spectator's psychic absorption in the fictional world.
Playing With the Past: Visitation and Illusion in the Mask Theatre of Bali
Authors: Emigh John 
Published: April 2006

What follows is a detailed account of a single performance of topeng pajegan performed by I Nyoman Kakul In the village of Tusan, Ball, on Feb. 6, 1975. Topeng is a popular form of masked theatre in Bali, and topeng pajegan an old and particularly demanding version of that form, in which one man portrays all of the characters—dancing, telling stories, making Jokes, and performing rituals.When we met in January 1975, Kakul checked a calendar, found it to be a particularly propitious hour to begin study, gave me my first lesson, and invited me to live in his family compound for the next several months while I studied masked dance.
Becoming A Clown in Bali
Authors: Jenkins Ron 
Published: April 2006

Frogs flourish in the wet rlcefields of Bali. Their sounds and rhythms are mimicked with vivid comic precision by clowns in the temple dramas. Continuity between performance and everyday events is a powerful element in Balinese community life. The links are reflected in numerous forms other than dancing frogs, but it was the frogs I noticed first.I arrived in Bali for a year of theatre research not knowing how I would proceed. Having been a circus clown in the U.S. I was attracted by the comic characters in the Balinese temple dramas. Eventually I moved into a small village, attended numerous performances, and became a regular follower of Topeng masked dancer Made Dlimat.Although I did not know it at the time, my presence as a spectator of Balinese temple dramas was the first step along the way to my becoming part of the performance.
Pak Rajeg's Life in Art
Authors: deBoer Fredrik 
Published: April 2006

This is a brief account of the life thus far of I Nyoman Rajeg, a Balinese dalang, or shadow-puppeteer. Pak Rajeg, now in his early 60's, grew up and was educated under the Dutch regime, lived through the Japanese occupation, participated actively in the independence movement, and subsequently has lived through the rapid and deep changes brought on as Bali experiences modernization. And yet, for all the changes that have come to pass in his lifetime, Pak Rajeg lives a life in the traditional performing arts of his culture that is well-founded and (it would seem) secure, a life moreover that is integral with the main fabric of the society in which he lives.Pak Rajeg is a professional dalang. He and his four musicians and two assistants form a small troupe that has its base of operations in his houseyard. From there they go forth to perform, usually in the nearby vicinity.
Structural Film: Ten Years Later
Authors: Cornwell Regina 
Published: April 2006

Is it a: 1) critical method, 2) an artistic process, 3) neither or 4) both?We can in fact presume that there exist certain writers, painters, musicians in whose eyes a certain exercise of structure (and no longer merely its thought) represents a distinctive experience, and that both analysts and creators must be placed under the common sign of what we might call structural man, defined not by his ideas or his languages, but by his imagination—in other words, by the way in which he mentally experiences structure.…we recompose the object in order to make certain functions appear…this is why we must speak of the structuralist activity rather than the structuralist work.(Roland Barthes “The Structuralist Activity” 1963)The correct answer to the original question is—structuralism is both, as Barthes so succinctly states. But what of the phenomenon referred to as “structural film“? Is “structural film” “structuralist film” in disguise?
The Solo Performances of Winston Tong
Authors: Blumenthal Eileen 
Published: April 2006

Winston Tong's solo theatre works—he has created more than half a dozen—meld widely divergent forms and sensibilities: his extreme economy of means is akin to types of traditional Chinese theatre; his use of puppets, dolls, and silhouettes recalls elements of Japanese Bunraku and Javanese shadow puppets; and his startling, pervasive eroticism has roots in nineteenth century French Symbolism.“A Rimbaud,” which dates from 1976, Is a phantasmagory of tortured sensuality. It came, Tong says, “out of terrible alienation and a desire to make connection with some more ethereal thing. I wondered what love was. And I was kind of anguished.”Seven small votive candles are lit as footlights. Then Tong quietly, solemnly walks on stage carrying an overnight-size black suitcase.
Paul Margueritte and Pierrot Assassin of His Wife
Authors: Gerould Daniel 
Published: April 2006

The pantomime, Pierrot Assassin of His Wife—one of the most extraordinary solo performances of the late 19th century—was first created in 1881 by a stage-struck twenty-one-year-old Parisian student, Paul Margueritte, who spent his summer vacations outside the city putting on amateur theatre in an old barn loft. For the rest of the decade, Margueritte, although embarked upon a successful literary career, continued to present his pantomime whenever and wherever he could—for friends and relatives, before peasants in rented rural ballrooms, in fashionable Parisian salons for elite private audiences of artists and writers, and at special showings in professional theatres.A radically new interpretation of the traditional comic figure derived from cornmedia dell'arte, Margueritte's macabre Pierrot contributed directly to the revival of pantomime that characterized the 1880's: Margueritte quickly became celebrated, and his work was written up in popular magazines; Stéphane Mallarmé, Edmond de Goncourt, Alphonsé Daudet, and André Antolne were among the admirers of Pierrot Assassin of His Wife.
John Zorn's Theatre of Musical Optics
Authors: Troyano Ela 
Published: April 2006

This is when I founded the Theatre of Musical Optics. What you see and what you hear is the same thing, music. Music had never anything to do with sound… In my shows the objects in performance are like solid sounds...different shapes and textures.John ZornJohn Zorn founded the Theatre of Musical Optics in 1975. Since then he has developed two different types of concerts. In one he plays a musical instrument. As a saxophone player and composer, he appears regularly with a group of musicians working with “improvised music” or “music for improvisers.” In other concerts he performs alone in intimate situations using small objects visually as though they were musical “notes.” Though he has performed these shows with objects at Anthology Film Archives, the Collective for the Living Cinema and the Ontological-Hysteric Theatre, most of the work has taken place at his small studios on Lafayette Street and, more recently, on the Lower East Side.
The Audience of One: Jamie Leo
Authors: Scott Trudy 
Published: April 2006

The invitation to see Bye Bye Blacksheep came privately. It was the summer of 1976 and Jamie Leo, then a member of Iowa Theatre Lab, invited me to view a short piece he had written and directed for actor Mark Bronnenberg. The performance was private, not in the sense of excluding the public, but in that the audience was limited to one observer.The invitation came at the last moment—I was to be there in 20 minutes—an action that belied the elaborate timing and logistical complexity of the performance. I arrived at the large, old apartment house and waited in Jamie's living room until he came in, blindfolded me with a black silk scarf, and led me into the corridor. As he carefully guided me down the long passage, he gave me the following information and directions: The scene you are about to see is entitled Bye Bye Blacksheep. Mark Bronnenberg, an actor from Iowa city, and I have been working on it since the beginning of the summer. What you are seeing this evening is a rehearsal, and since it is a rehearsal, I will be there with you to take notes on Mark's performance. Please try not to be bothered by me; I will be sitting just behind you.
Anne Bogart's Journeys
Authors: Abbe Jessica 
Published: April 2006

Anne Bogart creates and directs experimental theatre pieces. She combines her regard for the individual esthetics of the actors with her own strong structural vision to produce eclectic and unique plays. Her most recent works include Out of Sync, performed in March of this year; Hauptstadt, in May of 1979; and Inhabitat, a play in a house (February 1979 production).Bogart was born in 1951 into a Navy family. As a child brought up in the military, the longest she stayed in one place was two and a half years in Tokyo between the ages of about six and eight. The frequent moves “from coast to coast and country to country” produced a stream of different schools—private, public, military and boarding. At 14, Bogart got involved in the backstage work of a school play.
Yvonne Rainer's Journeys from Berlin/1971
Authors: Sargent-Wooster Ann 
Published: April 2006

Before 1970 Yvonne Rainer's career conformed to the general outlines of the other dancers of the Judson Church group (T30). The dance sections of her multimedia events combined formal dance steps with everyday movements in a nonhierarchical order. In 1970 she traveled to India with the Grand Union. There she became fascinated with the classical theatre of India and for a time followed the touring Kathakali, whose performances lasted all night (T50). This experience with the impact of a storytelling form caused her to focus on narrative and on film. Both had previously been in her work, but they were now given greater prominence. By the mid-1970s she had stopped performing entirely and devoted herself exclusively to film. In a 1971 essay she wrote,I'm no longer Interested in mixed media. You can either make a movie or you don't make a movie. I didn't make movies. I made choreographic exercises that were meant to be viewed with one's peripheral vision.(Yvonne Rainer Work 1961-73)
Angna Enters: American Dance-Mime
Authors: Cocuzza Ginnine 
Published: April 2006

Anita Enters came to New York City from Milwaukee, Wisconsin, late in 1919 to begin study at the Art Students League. (According to personal correspondence and various newspaper interviews, her given name is Angna, although she was addressed by her family, her early friends, and her husband by the nickname Anita.) She was probably 18 years old at the time, although her birth date is usually given as April 28, 1907. If the description of her life before arriving in New York, as told in her fictionalized biography Silly Girl, is only partially true, it is certain that she was a precocious, withdrawn, independent child.After the first quarter at the Art Students League, she became discouraged with her artwork and did not register for the next quarter's classes.
Hierarchical characterization of aggregates for Monte Carlo simulations
Authors: Briesen Heiko 
Published: April 2006

AbstractModeling of crystallization processes is usually based on deterministic population balances. Although conceptually there is no such limitation, population balance modeling is used only up to a few internal dimensions because of the computational effort. Alternatively, Monte Carlo methods are increasingly used for the simulation of particulate systems. There, the characterization of particles is also often limited to a few size and shape parameters similar to those of deterministic population balance modeling. A major advantage of Monte Carlo methods, however, is its simple extensibility to more complex particle characterizations. However, actually considering the full three‐dimensional shape of a complex agglomerate may lead to a prohibitive computational effort. To overcome this bottleneck a hierarchical particle characterization is proposed. This characterization allows the realistic representation of the agglomerates, without the need for detailed geometric computations for each particle. Instead of the full geometry, substitution systems are introduced that can be used to perform aggregation events or to identify crystal faces that are available for growth. The substitution systems consist of point mass systems, which preserve certain characteristics of the original agglomerate such as the moment of inertia. Numerical studies show the applicability of the approach. Based on this characterization, modeling of rate processes can be performed on a much higher level of detail than is allowed by standard one‐ or two‐dimensional particle characterizations. © 2006 American Institute of Chemical Engineers AIChE J, 2006
Asymmetric aziridination of 1,3‐dienes catalyzed by bisoxazoline‐copper complexes
Authors: Ma Linge , Du Da‐Ming , Xu Jiaxi 
Published: April 2006

AbstractThe asymmetric aziridination of 1,3‐dienes catalyzed by bisoxazoline‐CuOTf complexes with PhINTs as a nitrene precursor has been achieved in moderate yields with up to >99:1 regioselectivity, up to >99% diastereoselectivity, and up to 80% enantioselectivity. α,β,γ,δ‐Unsaturated ketones usually produced cis‐γ,δ‐aziridinated products, while 1,4‐diphenyl‐1,3‐butadiene afforded both of cis‐ and trans‐aziridine derivatives as major products by the use of different bisoxazoline ligands. The configuration of cis‐aziridine derivatives was proposed on the basis of the reaction mechanism. Chirality, 2006. © 2006 Wiley‐Liss, Inc.
Regularly methylated novel pro‐apoptotic genes associated with recurrence in transitional cell carcinoma of the bladder
Authors: Christoph Frank , Weikert Steffen , Kempkensteffen Carsten , Krause Hans , Schostak Martin , Miller Kurt , Schrader Mark 
Published: April 2006

AbstractEpigenetic silencing of tumor suppressor genes by promoter hypermethylation has been shown for a variety of genes in bladder cancer. Various p53 target genes have been investigated, but only few demonstrated promoter hypermethylation when semiquantitative detection methods were applied. To address to the question whether promoter methylation of novel p53 effector genes is a common event in transitional cell carcinoma of the bladder, we selected the p53 target genes apoptotic protein‐activating factor (APAF‐1), Caspase 8 (CASP‐8), death‐associated protein kinase, (DAPK‐1) and insulin‐like growth‐factor‐binding protein‐3 (IGFBP‐3), performing quantitative methylation‐specific real‐time PCR. The individual level of methylation (normalized index of methylation) was correlated with clinicopathological features as well as the biological behavior of the superficial and muscleinvasive tumors. Tissue was obtained from 110 tumor patients and 20 patients without urological malignancy. The median follow‐up of the tumor patients was 52 months. Hypermethylation of the promoter region in tumor specimens was common for APAF‐1 (100%), DAPK‐1 (74%) and IGFBP‐3 (66%), but not for CASP‐8 (3.6%). It was seen less frequently and with undetectable or low methylation levels in the normal urothelium group. The APAF‐1 methylation levels significantly correlated with tumor stage and tumor grade. The APAF‐1 and IGFBP‐3 methylation levels were able to separate tumors with higher recurrence risk from low‐risk tumors in nonmuscleinvasive and muscleinvasive tumors. In multivariate analysis, APAF‐1 and IGFBP‐3 methylation levels were independent prognostic markers for recurrence in superficial bladder tumors. This study provides new insights into the role of promoter methylation of selected p53 target genes. The extent of promoter methylation of specific genes offers additional prognostical information and is associated with the outcome in patients with nonmuscleinvasive and muscleinvasive bladder cancer. © 2006 Wiley‐Liss, Inc.
Foreign exchange intervention and the Australian dollar: has it mattered?
Authors: Edison Hali , Cashin Paul , Liang Hong 
Published: April 2006

AbstractSince the Australian dollar was floated in December 1983, the Australian central bank (Reserve Bank of Australia) has actively intervened in the foreign exchange market. Using daily exchange rate and official intervention data from January 1984 to December 2001, this paper examines what effects, if any, foreign exchange operations by the Reserve Bank of Australia (RBA) have had on the level and volatility of the Australian dollar exchange rate. First, using an event study we evaluate the effectiveness of intervention by examining its direct effect on the level of the exchange rate. We find that over the period 1997–2001, the RBA has had some success in its intervention operations, by moderating the depreciating tendency of the Australian dollar. Second, we investigate the effects of RBA intervention policies on exchange rate volatility over the floating rate period. Our results indicate that intervention operations tend to be associated with an increase in exchange rate volatility, which suggests that official intervention may have added to market uncertainty. Overall, the effects of RBA intervention are quite modest on both the level and the volatility of the Australian dollar exchange rate. Copyright © 2006 John Wiley & Sons, Ltd.