bluuebunny/crossref_metadata_2025_split huggingface dataset:
QTL Analysis of ICA Bunsi‐Derived Resistance to White Mold in a Pinto × Navy Bean Cross
Authors: Miklas Phillip N. , Larsen Karen M. , Terpstra Karolyn A. , Hauf Darrin C. , Grafton Kenneth F. , Kelly James D. 
Published: January 2007

ABSTRACTBreeding for genetic resistance to white mold [Sclerotinia sclerotiorum(Lib.) de Bary] in dry bean (Phaseolus vulgarisL.) is difficult because of low heritability. To facilitate breeding, researchers have sought to identify QTL underpinning genetic resistance to white mold. We identified two QTL conditioning ICA Bunsi‐derived resistance to white mold in a pinto × navy bean (Aztec/ND88–106–04) recombinant inbred line (85 RILs) population. ND88–106–04 is a navy breeding line with resistance to white mold derived from ICA Bunsi navy. Aztec pinto is susceptible. The QTL were located to linkage groups B2 and B3 of the core map. The B2 QTL expressed in three of four field environments explaining 24.7, 9.0, and 8.7% of the phenotypic variation for disease severity score. The B3 QTL expressed in two of four environments, explaining 15.7 and 5.3% of the phenotypic variation. The B2 QTL was identified previously in ICA Bunsi × navy and ICA Bunsi × black bean RIL populations. The resistance conferred by the B2 QTL has a physiological basis due to association with stay green stem trait and lack of association with disease avoidance traits. The B3 QTL, undetected in previous studies, was associated with disease avoidance traits (canopy porosity, plant height), stay green stem trait, and maturity. The B2 QTL with stable expression in multiple environments and across genetic backgrounds will be most amenable to manipulation by breeders.
The Factor of Direction
Authors: Selden Samuel 
Published: January 2007

The art of Theatre is an art of change. It is changing continuously. It changes in matters pertaining to substance and to form. It changes in structure. For example, take that element of theatrical art which is the work of the “director.”Today when we hear that a new Tennessee Williams play will be staged by Elia Kazan, a Shakespearean work produced by Tyrone Guthrie, or a musical extravaganza “put on” by Joshua Logan, we are not surprised by the news at all. It seems to us to be quite natural that a dramatic enterprise should be guided by a man who is trained for its preparation. The fact is, however, that the emergence of the director as a separate and distinct craftsman in the theatre is a comparatively recent event. There have always been general administrators, of course. In the early years they were priests or lay members of the community assigned to the actors as producers.
Ford, Rockefeller, And Theatre
Authors: Schechner Richard 
Published: January 2007

—And we?—I beg your pardon?—Where do we come in?—Come in? On our hands and knees.Samuel Beckett, playwrightIf a painting after all means more than an object for economic speculation, what does it mean?W. McNeil Lowry, vice-president, Ford FoundationAccording to statistics published in the New York Times and Fortune, more than $3 billion was spent last year on “everything from Bach and the Beatles to Shakespeare, Shaw, the opera … Peter, Paul, and Mary … Monet and Melville.” Consumer spending in the arts jumped 130% between 1953 and 1960—about “twice as fast as spending on all recreation and better than six times as fast as outlays for spectator sports.”
The Regional Theatre: Some Statistics
Authors: Schmidt Sandra 
Published: January 2007

The information contained in the following tables is only the rawest of raw material, to be approached with awesome cautiousness. They are by no means comparisons of theatres, since often the same figure will mean different things to different theatres. Salaries, for example, in one instance may include the pittance paid to non-Equity extras, in another there may be no non-Equity to pay. Foundation grants may throw box-office percentages off. A proper sorting job would have required a particularly active computor—and it is being done by the 20th Century Fund for publication next year.The figures have been gathered bit by bit from all over. In every case they have been checked with the director or business manager of the theatre involved, but only with imagination, intuition, and a certain amount of brashness can they be interpreted.
The Beginnings of Decline
Authors: Poggi Jack 
Published: January 2007

It is commonly assumed by those who discuss the theatre's present economic difficulties that there were no serious problems before 1929, when the talkies and the stock market crash brought prosperity to a sudden halt.Actually, activity on the road began to drop sharply about 1910 and in the mid-twenties reached a point not far above the present level. Though the fact is sometimes acknowledged, the decline of the road is rarely seen in relation to the later decline on Broadway. I suggest that we ask whether both might have been brought about by the same causes.The question has not been asked because it appears to us in retrospect that the economy of Broadway was sound in the years when the road was declining.
Household Hints: The Rockefeller Report
Authors: Mee Charles L. 
Published: January 2007

The report of the Rockefeller Brothers Fund, Inc., published as The Performing Arts: Problems and Prospects (McGraw-Hill, 1965), is the product of two years’ labor by a committee. The report's porridge-like prose shows that each member of the committee exercised some editorial judgment. Yet the document is distinguished for its effort to reach beyond diagnosis toward some prescriptions.The assessment of the theatre's current economic situation offered by the report is predictable: “ … no one expects Broadway to collapse. … But Broadway as we knew it … is being challenged, its audiences are turning elsewhere.” According to the Rockefeller report, the theatre's future lies outside New York, with non-profit professional groups. The report further concludes that “the non-profit performing arts should not be expected to pay their way at the box-office.”
Does the Italian Theatre Exist?
Authors: Codignola Luciano 
Published: January 2007

It is not an easy job to write about something which may not exist. Theatre? Does it still exist? And Italian theatre? Has it ever existed? Many people doubt it. Italian opera existed once, but what about Italian comedy and Italian drama? As far as I know, people have always spoken of them as being in crisis.At times I try to find comfort in the thought that when something is in crisis, it probably exists. If I remember correctly, St. Anselm tried to prove the existence of God with a rather similar demonstration—but he succeeded only in proving that men desire God. So we might say that Italian theatre has been living for many centuries in mente italicorum, which does not mean that it has found its own reality in a living body of images, characters, stories, and styles. When we talk about it with foreigners, the conversation slides immediately to commedia dell'arte, to opera, and to neo-realistic movies.
Method in Mime
Authors: Davis R. G. 
Published: January 2007

The American stage has been called style-less. It has been criticized for not maturing realism but being trapped by it. And, of course, the blame has been laid at method's door. This is unfair. We can just as well blame our “cool” society for its inhibited, self-conscious exhibitionism. Method incorporates style, and sincere and creative use employs it richly. In movement this is precisely mime's concern.If every actor could perform as a total performer, executing illusions that could create place, time and properties then we could free the stage from its constipated d6cor and reaffirm the essence of theatre—a vital human performing for a live audience.
Modern Theatre: Points of View and Attack
Authors: Lagerkvist Pär 
Published: January 2007

The evolution of the theatrical art is so dependent on external realities which are not amenable to change that it can seem meaningless to come forward with any wish or assumptions concerning the direction its development might take. Without reflection the theatre has invariably regarded all well-meant theorizing as only that, and although one really cannot reproach it on this account, it does have on its conscience not a little ungratefulness for genuinely vital and sympathetic interest shown it.Still, at a time when the art of the theatre itself seems not to have any guiding principle, but rather many conflicting ones, and when tradition is mingled with occasional experiments whose lasting value appears doubtful, when the whole outlook appears confusing to such a great degree, it is, of course, understandable if an author who works with drama or wishes to do so, tries to orient himself a bit, tries to decide what would seem to be essential for the theatre both now and generally; and thereafter attempts to take a stand in regard to the different trends.
Hjalmar Bergman
Authors: Sprinchorn Evert 
Published: January 2007

Generally regarded as the finest dramatist Sweden has produced since Strindberg, Hjalmar Bergman is a conspicuous example of the writer who is obsessed by a single motive. In his case the motive was the fear of father, and his entire dramatic production may be viewed as little more than variations on this theme. However, in tracing this theme through the plays of Bergman, I am less interested in showing the development of a personality than in revealing the struggles of an artist as he seeks a form in which he can not only express his personal feelings but get a wide audience to share those feelings openly with him.Born in 1883, Bergman was a sickly, weak, fat, and extremely sensitive child, the butt of his playmates’ jokes. His father was a stern, successful, small-town businessman who completely dominated the thought and activities of young Hjalmar.
Strength and Weakness in Arthur Miller
Authors: Driver Tom F. 
Published: January 2007

Arthur Miller's introduction to his Collected Plays (New York, 1957) is one of the major documents of American theatre. It reveals an eminent playwright having struggled to understand and perfect his craft. It shows him eager to use the theatre to express his evolving ideas. It shows his strengths, and also his weaknesses.The foremost asset Arthur Miller possesses as a playwright is his knowledge that the theatre must dedicate itself to public matters. He has an acute sense of his audience as persons to be addressed, never merely spectators to be tolerated. “A play,” he writes, “ought to make sense to common-sense people … the only challenge worth the effort is the widest one and the tallest one, which is the people themselves.”His writing, although it usually has an axe to grind, does not attempt to startle society with new ideas. Indeed, he does not believe that the theatre can promulgate entirely new ideas, because it must gather the assent of its audience as it moves along, and this is impossible with the radically new.
The Making of a Dramatist (1892-1903)
Authors: Bentley Eric 
Published: January 2007

It was clear from the start that Bernard Shaw was a man of ideas. Later it turned out that he was a fabulous entertainer. But few have granted that the two Shaws were one. The old tendency was to allow that he was a publicist, a critic, an essayist, even a philosopher but to add: “not of course a dramatist.” The later tendency was to concede that he was a great showman but to discount his thoughtful side. As Egon Friedell said, you could suck the theatrical sugar from the pill of propaganda, and put the pill itself back on the plate.Neither in the old days, then, nor in the later ones was Shaw considered a dramatist, for even the later generations have only thought him a master of the theatrical occasion, a man with a theatrical line of talk and a theatrical bag of tricks, a highly histrionic jokester—a comedian, certainly, but hardly a writer of serious comedy.
The Theatrical World of Michel de Ghelderode
Authors: Weiss Auréliu 
Published: January 2007

The recent death of Ghelderode has awakened renewed interest in his drama. One of the most astounding figures in the contemporary theatre (a theatre full of astounding figures), his work is characterized by such bizarre aspects as fetishism, living dead men, leaps through time, devils, sorcerers, ghosts, grinning buffoons, legendary heroes stubbornly destroying their legend, historical characters denying the facts of their history, philosophical drunkards, and death as a character in farce.Obsessed by a universe of dark forces in endless ferment, he saw evil and damnation everywhere. Plagued by them, it did not occur to him to attack them with righteous wrath, as did Calderón and Tirso de Molina, the priest-playwrights of the Golden Age of Spanish drama. In Ghelderode's works the devil is alive and active. Moreover, if one probes beneath his anxiety, one finds a certain satisfaction, a feeling of tenderness and amusement.
The Cat has Nine Lives
Authors: Dukore Bernard F. 
Published: January 2007

Beneath a hot roof, on an oppressive summer's day, in a roasting room, Brick and Margaret Pollitt face each other. Brick, heated and hardening in this oven-like bedroom, turns his thoughts toward the liquor cabinet. Margaret, wanting a child by her husband (“in the oven,” as father-in-law Big Daddy would say), and tense (as nervous as a cat on a hot tin roof) because of enforced continence, turns her thoughts toward the bed.Indeed, the two most prominent scenic elements of Cat on a Hot Tin Roof—elements which fulfill the needs both of the world on stage and the box office in the lobby—are a liquor cabinet and a bed. The former is a “monument,” and the latter is “slightly raked to make figures on it seen more easily….”
Regression-Progression in Ugo Betti's Drama
Authors: Rizzo Gino 
Published: January 2007

When Betti's Time of Vengeance was given its off-Broadway production, Harold Clurman wrote (The Nation, Jan. 2, 1960) that the central theme of the play is “evil as a means to satisfy a need for good of which the besmirched mortal does not seem capable.” This is true not only of this particular play but of all the “serious” plays Betti wrote. There is still, however, the task of clarifying the paradox contained in such a statement—a task which until now has been shirked by Betti's critics both in his native Italy and abroad.The paradox is a faithful reflection of Betti's notion of life's absurdity, or “incongruity.“ In fact, he revealed his own awareness of this paradox and suggested that it stands at the core of his drama:We are all poor, restless creatures, and we would like at least to understand the tremendous, bewildering incongruity that we see between our existence and what it ought to be according to the aspirations of our soul; to understand why life is the marvelously tranquil iniquity that it is.
Theatre for Learning
Authors: Brecht Bertolt 
Published: January 2007

When anyone spoke of modern theatre a few years ago, he mentioned the Moscow, the New York or the Berlin theatre. He may also have spoken of a particular production of Jouvet's in Paris, of Cochran's in London, or the Habima performance of The Dybbuk, which, in fact, belonged to Russian theatre since it was directed by Vakhtangov; but by and large, there were only three capitals so far as modern theatre was concerned.The Russian, the American and the German theatres were very different from one another, but they were alike in being modern, i.e., in introducing technical and artistic innovations. In a certain sense they even developed stylistic similarities, probably because technique is international (not only the technique directly required for the stage, but also that which exerts an influence on it, the film, for example) and because the cities in question were great progressive cities in great industrial countries.
Recollections of Brecht
Authors: Frisch Max 
Published: January 2007

My association with Brecht, taxing as any such association with a reflective person always is, has lasted now for half a year, and the attempt simply to avoid such association is oftentimes not a trifling one.It is Brecht who always telephones or who, always friendly in his dry and somewhat restrained manner, inquires on the street if one has an evening free. Brecht seeks out conversation wherever he can find it. For my part, I gain the least from our conversations when Brecht thwarts them with his dialectic. One is defeated but not convinced.On my way home at night, reflecting on his sarcastic comments, I often lose myself in an exasperated monologue: What he says just doesn't all agree! It is only when I hear his verbal discharges again from my own mouth, in the third person, spoken in a similar manner, just as frivolously, often even as spitefully, that I feel the need to cycle back again to Herrliberg.
Theatres—Not Theatre
Authors: Mee Charles L. 
Published: January 2007

Ideals are fine. In most of the pages of this issue the writers are concerned with ideals. These pages are concerned with something more tangible: money.The fact is, as we all know, today's theatre is run with money. Tomorrow's theatre, such as it may be, must also be solvent. I am not concerned, in the following paragraphs, with dreams or aspirations. I am concerned with certain economic facts of the present, certain economic trends that will shape the theatres of the future.Who pays for the theatre in America? The audience. What is our audience today in America? First: what is our present Broadway audience?The present Broadway audience, according to a survey made by Playbill magazine, consists of eleven million people. That is, the Broadway theatres fill about eleven million seats in a given season—sometimes the same people fill the same seats.
For Everyman, A Theatre
Authors: Miller James Hull 
Published: January 2007

I suppose the most beneficial result of your letter is the actual analysis on my part of what it is I am really doing. For many years I have been pulling better designs than the next fellow out of the hats of clients in financial corners. I can boast of never having had a rich client. I live at the top of my class but my work was at the bottom of the theatre world. I thought Izenour's theatres monstrously top-heavy, but had to admit he was more popular with the well-heeled lads and the conformists. Then someone pointed out to me the other day that perhaps I was building more theatres than he. On the other hand, your letter seemed to stigmatize my experimentation in actual “bricks-and-wood” and encourage, rather, flight-free drawings.Finally I decided to stay with the “bricks-and-wood” and try to bring you around to a realization of what is actually going on in my world.
Pirandello and Possibility
Authors: Herman William 
Published: January 2007

For it is ultimately the function of art, in imposing a credible order on ordinary reality, and thereby eliciting some perception of an order in reality, to bring us to a condition of serenity, stillness, and reconciliation; and then leave us, as Vergil left Dante, to proceed toward a region where that guide can avail us no further.—T. S. EliotIII. The lowest class of funeral carriage, the one for the poor. Naked. And let no one accompany me, neither relatives, nor friends. The carriage, the horse, the driver, and that's all.IV. Burn me. And let my body, as soon as it has been consumed, be dispersed, because I want nothing, not even my ashes, to be left of me …—Luigi Pirandello (from his Will)
Review of the Pitoёff production of Six Characters at the Théâter des Champs Elysées in 1923, Found in our files too late for entry in the table of contents.
Authors: Artaud Antonin 
Published: January 2007

Life goes on as before. Without any show.Our eyes are drawn to the very back of the stage. The curtain has gone up. And the whole theatre is a vast hall where the audience is about to watch a rehearsal in progress. But a rehearsal of what? There is no play. We are about to see theatre made before our eyes. Everyone is occupied with his own trivial affairs. After a while, however, the actors come together. Then a family in mourning steps out of the Théâter des Champs Elysées’ elevator; their faces are ashen white, as if started out of dreams.These are the Six Characters in Search of an Author. Now these Six Characters want to come alive. They want to take part in drama. They are more real than you, stage manager, or you, barn-stormers. They are real and they are about to prove it.
The New Theatre
Authors: Kirby Michael 
Published: January 2007

Since the turn of the century, most art forms have vastly expanded their materials and scope. Totally abstract or non-objective painting and sculpture, unheard of in 1900, is practiced by many major artists today. Composers tend to discard traditional Western scales and harmonies, and atonal music is relatively common. Poetry has abandoned rhyme, meter, and syntax. Almost alone among the arts, theatre has lagged. But during the last few years there have been a number of performances that begin to bring theatre into some relation with the other arts. These works, as well as productions in other performance-oriented fields, force us to examine theatre in a new light and raise questions about the meaning of the word “theatre” itself.In discussing this new theatre, new terms are needed. A few have already been provided by public usage, although they need clarification and standardization. Others will have to be created. Accurate nomenclature is important—not for the sake of limitation but to facilitate easy, accurate, and creative exchange among those concerned with the work and its concepts.
Washes
Authors: Oldenburg Claes 
Published: January 2007

Creation of Washes followed the procedure established in previous pieces:A period of about two weeks, of priming myself with possibilities—practical and impractical—for a pool piece, recording these in a book, and writing a number of script drafts.Familiarizing myself with the particular place. In this case by signing up for massage etc., at Al Roon's. Noticing the importance of sound in the hall, the impossibility of any rapid action. Details of the normal activity of the Health Club.Recruiting the cast from volunteers, some new and some familiar from past performances. Setting up schedule of rehearsals. First meeting.Purchase of objects and costumes. In this case mostly from Canal Street stores, Avenue C used clothing stores, several “thrift” shops, swimming pool suppliers, and sporting goods stores.First three rehearsals, combining prepared ideas, actual place, individuals in cast, and objects and costumes. Confusion and numerous trials and errors.
Combination Wedding and Funeral
Authors: Ashley Robert 
Published: January 2007

All members of the cast dress conventionally, and with the dignity and style that is appropriate to a wedding ceremony.The Bride wears a bridal gown, etc., but her face and hands are made up with thickly matted hair so that she appears to be some sort of animal. She is shackled with white ribbons to the frontside of an open box (6’ long, 2’ wide, 1’ deep, with carrying handles on either side) which rides upright on, but not attached to, a small, caster-wheel dolly. The open side of the box (facing toward the audience) is curtained with an opaque veil that can be lifted aside. The nude girl (the “cake”) rides inside of the box, hidden from the audience. At the entrance of the Bride in the wedding ceremony the Father of the Bride pushes the rolling structure with the two girls into position in front of the minister.