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Theatre
Kinds of Theatre Selected AbstractsARCHITECTURAL GEOGRAPHIES OF THE AIRPORT BALCONY: MOBILITY, SENSATION AND THE THEATRE OF FLIGHTGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 1 2008Peter Adey ABSTRACT. Contemporary studies within the apparent ,mobility turn' focus upon airports as sites indicative of our mobile world, yet they tend to forgo investigations of the contextual architectural geographies that shape and inflect these mobilities. This paper examines the relationship between the architecture of the airport balcony and practices of seeing. While recent scholarship has taken airports to be incredible symbolizers of power and places of heightened visual scrutiny, the paper explores how through the architectural mediation of seeing, early airports were designed to instil specific inspirations, beliefs and messages within the airport user , constructing a new and modern experience. Far from a blank space evacuated of social presence and meaning, the paper investigates how airport design interacts with and shapes social experience. By examining the mobile practices and experiences of inhabiting the airport balcony, the paper advances conceptualizations of moving and seeing by complicating their practice as ,collective individuations' of social, architectural and sensual engagements, registers, and percepts. [source] THE REDISCOVERY OF AMERICAN SACRED SPACESRELIGIOUS STUDIES REVIEW, Issue 4 2004Louis P. Nelson Book reviewed in this article: THE HERMENEUTICS OF SACRED ARCHITECTURE: EXPERIENCE, INTERPRETATION, COMPARISON (2 volumes) By Lindsay Jones TEMPLES OF GRACE: THE MATERIAL TRANSFORMATION OF CONNECTICUT'S CHURCHES, 1790,1840 By Gretchen Buggeln WHEN CHURCH BECAME THEATRE: THE TRANSFORMATION OF EVANGELICAL ARCHITECTURE AND WORSHIP IN THE NINETEENTH-CENTURY AMERICA By Jeanne Kilde PRAYERS IN STONE: CHRISTIAN SCIENCE ARCHITECTURE IN THE UNITED STATES, 1894,1930 By Paul Eli Ivey SHUL WITH A POOL: THE "SYNAGOGUE-CENTER" IN AMERICAN JEWISH HISTORY By David Kaufman MYTHS IN STONE: RELIGIOUS DIMENSIONS OF WASHINGTON, D.C. By Jeffrey F. Meyer UGLY AS SIN: WHY THEY CHANGED OUR CHURCHES FROM SACRED PLACES TO MEETING SPACES AND HOW WE CAN CHANGE THEM BACK AGAIN By Michael S. Rose BUILDING FROM BELIEF: ADVANCE, RETREAT, AND COMPROMISE IN THE REMAKING OF CATHOLIC CHURCH ARCHITECTURE By Michael E. DeSanctis ARCHITECTURE IN COMMUNION: IMPLEMENTING THE SECOND VATICAN COUNCIL THROUGH LITURGY AND ARCHITECTURE By Steven J. Schloeder [source] THEATRE, PERFORMANCE AND THEATRICALITY IN SOME MOSAIC PAVEMENTS FROM ANTIOCH,BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES, Issue 1 2003JANET HUSKINSON The ,Red Pavement' and the mosaic of ,Iphigencia' have been taken to illustrate the texts of particular plays by Euripides; scenes in the ,House of Dionysus and Ariadne' show satyrs in theatrical costume; and a triclinium mosaic from the House of Menander portrays the playwright himself. It views them in the light of some current interpretative approaches based on ,theatricality' and ,performance' and the decoration of houses. Through detailed analysis of each case it shows how their images provide further evidence of the cultural life of Antioch and for the interests and aspirations of elite patrons. [source] New Light on the Early History of the Theatre in Shoreditch [with texts]ENGLISH LITERARY RENAISSANCE, Issue 3 2006DAVID MATEER First page of article [source] MAKING SUSTAINABLE CREATIVE/CULTURAL SPACE IN SHANGHAI AND SINGAPORE,GEOGRAPHICAL REVIEW, Issue 1 2009LILY KONG ABSTRACT. Shanghai and Singapore are two economically vibrant Asian cities that have recently adopted creative/cultural economy strategies. In this article I examine new spatial expressions of cultural and economic interests in the two cities: state-vaunted cultural edifices and organically evolved cultural spaces. I discuss the simultaneous precariousness and sustainability of these spaces, focusing on Shanghai's Grand Theatre and Moganshan Lu and on Singapore's Esplanade,Theatres by the Bay and Wessex Estate. Their cultural sustainability is understood as their ability to support the development of indigenous content and local idioms in artistic work. Their social sustainability is examined in terms of the social inclusion and community bonds they engender; environmental sustainability refers to the articulation with the language of existing urban forms and the preservation of or improvements to the landscape. Although both Shanghai and Singapore demonstrate simultaneous precariousness and sustainability, Singapore's city-state status places greater pressure on it to ensure sustainability than does Shanghai, within a much larger China in which Beijing serves as the cultural hearth while Shanghai remains essentially a commercial center. [source] Brecht's Pastiche History Play: Renaissance Drama and Modernist Theatre in Leben Eduards Des Zweiten Von EnglandGERMAN LIFE AND LETTERS, Issue 4 2003Bruce Gaston This article examines Brecht's Leben Eduards des Zweiten von England from the historical perspective of its first performances in 1924, paying particular attention to the status of Renaissance drama in Germany and the emerging Modernist movement. This approach runs counter to previous critical discussions which have been implicitly or explicitly comparative. The emphasis on Marlowe has led to a neglect of the many parallels in Eduard II. with works by Shakespeare, works that Brecht, like most educated Germans, would have known. An examination of attitudes to English Renaissance drama during the period leads to the conclusion that Eduard II. is not a criticism of its model, since minimal knowledge of Edward II meant that most of the audience were not in a position to compare the two plays. Rather, the play is a pastiche, a spurious Renaissance history play that emphasised the aspects of Renaissance drama that corresponded to the Modernist aesthetic paradigm, and that also reflected Brecht's own interests and preoccupations. In Eduard II. a Modernist reinterpretation of Renaissance theatre was put up in opposition to the orthodox view of Shakespeare, and thus embodied a challenge to the dominant theatrical tradition which had claimed Shakespeare as its own. [source] Friedrich Friese's Dialect Comedy of 1687: A Taste of Altenburg School TheatreGERMAN LIFE AND LETTERS, Issue 3 2000Anna Carrdus The little-known work of Friedrich Friese, pupil and then teacher at the school in Altenburg during the late seventeenth and early eighteenth centuries, displays an interest in the popular culture of his day which he united with pedagogic responsibilities. His interest in the customs of the peasant and artisan classes is reflected in his preference for the comic genre, which traditionally focuses on behaviour and misbehaviour among the lower social levels. Friese's work offers insights into school thratre in Altenburg, which flourished in the seventeenth century but has as yet attracted little scholarly attention. The school not only put on hitherto unrecorded performances of plays by the well-known Christian Weise and Andreas Gryphius; between 1660 and 1703 it also presented independent dramas to mark the annual 'Gregoriusfest'. This civic school festival originated in ancient Rome and had many popular elements. Although it was widely celebrated in early modern Germany, celebration in Altenburg was particularly highly developed. Friese prepared several comedies for performance in 'Gregoriusfeste' as 'Nachspiele' to the main, more elevated dramatic pieces by the current Rector of the school. The text of his dialect comedy of 1687 is reprinted at the end of this article as a sample of his work and of Altenburg school theatre. [source] Making Sense of Theatre in the Third ReichHISTORY COMPASS (ELECTRONIC), Issue 5 2010Gerwin Strobl In the crowded field of studies on Nazi Germany the role of theatre in the Third Reich continues to be a neglected subject. The reluctance to engage with the topic is particularly true among historians and is in striking contrast to the attention devoted in recent years to other branches of the arts. Yet theatre actually received lavish funding from the Nazi regime. Indeed at no time in the history of the German stage was the provision so opulent, and the Nazi leadership went to considerable lengths to maintain the theatre sector even in wartime. The neglect of the theatre therefore constitutes more of a reflection on the priorities of the historical profession than those of the Nazi regime. This article attempts to redress the balance and to explore possible reasons for the limited treatment of the subject in the existing literature. [source] Theatre in the Sky: a ubiquitous broadband multimedia-on-demand service over a novel constellation composed of quasi-geostationary satellitesINTERNATIONAL JOURNAL OF SATELLITE COMMUNICATIONS AND NETWORKING, Issue 3 2006Tarik Taleb Abstract To meet an ever-growing demand for wideband multimedia services and electronic connectivity across the world, development of ubiquitous broadband multimedia systems is gaining a tremendous interest at both commercial and academic levels. Satellite networks will play an indispensable role in the deployment of such systems. A significant number of satellite communication constellations have been thus proposed using Geostationary (GEO), Medium Earth Orbit (MEO), or Low Earth Orbit (LEO) satellites. These constellations, however, either require a potential number of satellites or are unable to provide data transmission with high elevation angles. This paper proposes a new satellite constellation composed of Quasi-GeoStationary Orbit (Quasi-GSO) satellites. The main advantage of the constellation is in its ability to provide global coverage with a significantly small number of satellites while, at the same time, maintaining high elevation angles. Based on a combination of this Quasi-GSO satellites constellation and terrestrial networks, the paper proposes also an architecture for building a global, large-scale, and efficient Video-on-Demand (VoD) system. The entire architecture is referred to as a ,Theatre in the Sky'. Copyright © 2006 John Wiley & Sons, Ltd. [source] Theatre as Property in Eighteenth-Century LondonJOURNAL FOR EIGHTEENTH-CENTURY STUDIES, Issue 1 2008ROBERT D. HUME [source] From Dramaturgy to Theatre as Technology: The Case of Corporate Theatre*JOURNAL OF MANAGEMENT STUDIES, Issue 1 2004Timothy Clark ABSTRACT This article examines a piece of corporate theatre. Although theatre has entered organization studies through the dramatistic writing of Kenneth Burke and the dramaturgical writings of Erving Goffman, this article is concerned with an approach variously described as organizational, radical, situation or corporate theatre that treats theatre not primarily as a resource, an ontology or a metaphor but as a technology. This approach involves the deployment by an organization of dramatists, actors, directors, set designers, lighting specialists, and musicians to put on performances in front of audiences. Using frameworks derived from studies of theatre a particular piece of corporate theatre is described and analysed. It is argued that this form of theatre appears to be used to contain reflection and to promote the views of a particular group within an organization. It does not confront an audience but subtly suggests alternative ways of evaluating, construing and understanding issues. This may be achieved by anaesthetizing audience reaction by encouraging imaginative participation in the performance so that cherished beliefs and values do not appear to be directly challenged. [source] "What Do We Mean by Opera, Anyway?": Lloyd Webber's Phantom of the Opera and "High-Pop" TheatreJOURNAL OF POPULAR MUSIC STUDIES, Issue 2 2009David Chandler [source] Talking about theatre and therapyPSYCHOTHERAPY AND POLITICS INTERNATIONAL, Issue 3 2006Jonathan Chadwick Abstract This piece is an attempt to encourage talk about theatre and therapy in the context of the Az Theatre ,War Stories' project, an international exploration of war and theatre, of destruction and creativity, the latest phase of which is focused on stories of recovery. It is a development of notes written for a meeting with a group of therapists of different kinds, and associates of the company. The project and its background are described and the perspectives that have informed the work are laid out. Some ideas about trauma and the impact of war and violence are related to myth and stories and particularly to Euripides' play Alcestis. The working methods of the project and the relationship to the therapeutic community are described. Copyright © John Wiley & Sons, Ltd. [source] The Visual Arts and the Theatre in Early Modern EuropeART HISTORY, Issue 2 2010Caroline Van Eck First page of article [source] Making the Most of Theatre and Painting: The Power of Tableaux Vivants in Joyous Entries from the Southern Netherlands (1458,1635)ART HISTORY, Issue 2 2010Stijn Bussels First page of article [source] Parrhasios and the Stage Curtain: Theatre, Metapainting and the Idea of Representation in the Seventeenth CenturyART HISTORY, Issue 2 2010Emmanuelle Hénin First page of article [source] Oprar sempre come in teatro: The Rome of Alexander VII as the Theatre of Papal Self-RepresentationART HISTORY, Issue 2 2010Maarten Delbeke First page of article [source] MAKING SUSTAINABLE CREATIVE/CULTURAL SPACE IN SHANGHAI AND SINGAPORE,GEOGRAPHICAL REVIEW, Issue 1 2009LILY KONG ABSTRACT. Shanghai and Singapore are two economically vibrant Asian cities that have recently adopted creative/cultural economy strategies. In this article I examine new spatial expressions of cultural and economic interests in the two cities: state-vaunted cultural edifices and organically evolved cultural spaces. I discuss the simultaneous precariousness and sustainability of these spaces, focusing on Shanghai's Grand Theatre and Moganshan Lu and on Singapore's Esplanade,Theatres by the Bay and Wessex Estate. Their cultural sustainability is understood as their ability to support the development of indigenous content and local idioms in artistic work. Their social sustainability is examined in terms of the social inclusion and community bonds they engender; environmental sustainability refers to the articulation with the language of existing urban forms and the preservation of or improvements to the landscape. Although both Shanghai and Singapore demonstrate simultaneous precariousness and sustainability, Singapore's city-state status places greater pressure on it to ensure sustainability than does Shanghai, within a much larger China in which Beijing serves as the cultural hearth while Shanghai remains essentially a commercial center. [source] The Performing Venue: The Visual Play of Italian Courtly Theatres in the Sixteenth CenturyART HISTORY, Issue 2 2010Lex Hermans The protagonists of this article have to be considered as performers , actors, one might say , but they are not living beings. Its subject is the sixteenth-century Italian courtly theatres of Rome, Florence, Sabbioneta, and Parma, together with the visual effect their often very elaborate decoration schemes have on their viewers. It is about the agency of things, not persons. The performances that took place in these venues, though important, are left out. [source] A strategy for efficient handling of fresh tumor needle biopsies that allows histological and cytopathological assessmentDIAGNOSTIC CYTOPATHOLOGY, Issue 5 2008C.C.P.M., Marta C. Cohen M.D. Abstract Neo-adjuvant chemotherapy prior to surgery is used in the management of many pediatric solid tumors, and diagnosis is therefore valuable and is frequently made by percutaneous needle biopsy. We describe a method that enhances tissue preservation and obtains a sample for rapid cytopathological assessment. Biopsies are placed in Ham's F10 culture's medium in theatre and transferred to pathology. The biopsies are retrieved from the medium and dealt as before (submit to cytogenetics; fix in glutharaldheyde; snap frozen at ,80°C and routine histology). An equal amount of 90% alcohol is then added to the Ham culture's medium fluid received from theatre before performing a cytospin preparation and a cell clot. We used this method in the diagnosis of 16 tumors demonstrating that this allows a more efficient handling of the biopsy, makes possible a same day diagnosis, enhances the quality of the immunohistochemistry and maximizes the amount of tissue available for diagnosis. Diagn. Cytopathol. 2008;36:285,289. © 2008 Wiley-Liss, Inc. [source] Randomized comparison of the SLIPA (Streamlined Liner of the Pharynx Airway) and the SS-LM (Soft Seal Laryngeal Mask) by medical studentsEMERGENCY MEDICINE AUSTRALASIA, Issue 5-6 2006Cindy Hein Abstract Objective:, The aim of the study was to compare the Streamlined Liner of the Pharynx Airway (SLIPA; Hudson RCI), a new supraglottic airway device, with the Soft Seal Laryngeal Mask (SS-LM; Portex) when used by novices. Methods:, Thirty-six medical students with no previous airway experience, received manikin training in the use of the SLIPA and the SS-LM. Once proficient, the students inserted each device in randomized sequence, in two separate patients in the operating theatre. Only two insertion attempts per patient were allowed. Students were assessed in terms of: device preference; success or failure; success at first attempt and time to ventilation. Results:, Sixty-seven per cent of the students preferred to use the SLIPA (95% confidence interval 49,81%). The SLIPA was successfully inserted (one or two attempts) in 94% of patients (34/36) and the SS-LM in 89% (32/36) (P = 0.39). First attempt success rates were 83% (30/36) and 67% (24/36) in the SLIPA and SS-LM, respectively (P = 0.10). Median time to ventilation was shorter with the SLIPA (40.6 s) than with the SS-LM (66.9 s) when it was the first device used (P = 0.004), but times were similar when inserting the second device (43.8 s vs 42.9 s) (P = 0.75). Conclusions:, In the present study novice users demonstrated high success rates with both devices. The SLIPA group achieved shorter times to ventilation when it was the first device they inserted, which might prove to be of clinical significance, particularly in resuscitation attempts. Although the Laryngeal Mask has gained wide recognition for use by both novice users and as a rescue airway in failed intubation, the data presented here suggest that the SLIPA might also prove useful in these areas. [source] The future of magnetic resonance-based techniques in neurologyEUROPEAN JOURNAL OF NEUROLOGY, Issue 1 2001European Federation of Neurological Societies Task Force Magnetic resonance techniques have become increasingly important in neurology for defining: 1,brain, spinal cord and peripheral nerve or muscle structure; 2,pathological changes in tissue structures and properties; and 3,dynamic patterns of functional activation of the brain. New applications have been driven in part by advances in hardware, particularly improvements in magnet and gradient coil design. New imaging strategies allow novel approaches to contrast with, for example, diffusion imaging, magnetization transfer imaging, perfusion imaging and functional magnetic resonance imaging. In parallel with developments in hardware and image acquisition have been new approaches to image analysis. These have allowed quantitative descriptions of the image changes to be used for a precise, non-invasive definition of pathology. With the increasing capabilities and specificity of magnetic resonance techniques it is becoming more important that the neurologist is intimately involved in both the selection of magnetic resonance studies for patients and their interpretation. There is a need for considerably improved access to magnetic resonance technology, particularly in the acute or intensive care ward and in the neurosurgical theatre. This report illustrates several key developments. The task force concludes that magnetic resonance imaging is a major clinical tool of growing significance and offers recommendations for maximizing the potential future for magnetic resonance techniques in neurology. [source] The design of supervisory rule-based control in the operating theatre via an anaesthesia simulatorEXPERT SYSTEMS, Issue 1 2002M. Mahfouf The development of online drug administration strategies in operating theatres represents a highly safety-critical situation. The usefulness of different levels of simulation prior to clinical trials has been shown in previous studies in muscle relaxant anaesthesia. Thus, in earlier work on predictive self-tuning control for muscle relaxation a dual computer real-time simulation was undertaken, subsequent to algorithm validation via off-line simulation. In the present approach a supervised rule-based control algorithm is used. The control software was implemented on the actual machine to be used in theatre, while another computer acted as a real-time patient simulator. This set-up has further advantages of providing accurate timing and also finite data accuracy via the ADC/DAC interface, or the equivalent digital lines. Also, it provides for controller design fast simulation studies compared to the real-time application. In this paper, a new architecture which combines several hierarchical levels for control (a Mamdani-type fuzzy controller), adaptation (self-organizing fuzzy logic control) and performance monitoring (fault detection, isolation and accommodation) is developed and applied to a computer real-time simulation platform for muscle relaxant anaesthesia. Experimental results showed that the proposed algorithm fulfilled successfully the requirements for autonomy, i.e. automatic control, adaptation and supervision, and proved effective in dealing with the faults and disturbances which are normally encountered in operating theatres during surgery. [source] Censorship and Opinion Formation:,Franziska Linkerhand,on the GDR StageGERMAN LIFE AND LETTERS, Issue 3 2010Laura Bradley ABSTRACT This article uses the stage history of,Franziska Linkerhand,to cast new perspectives on GDR theatre after Wolf Biermann's expatriation. Whilst this period is usually associated with a retreat from experimentation, new space for innovative contemporary drama opened up in the spring and summer of 1978. Christoph Schroth's groundbreaking production of,Franziska Linkerhand,was judged a qualified success when it was premièred in Schwerin, but it sparked controversy in Leipzig and especially in East Berlin. After prolonged negotiations, performances in Schwerin were allowed to continue, but plans for new productions in Halle and Wittenberg were dropped. The changing theatrical fortunes of,Franziska Linkerhand,thus allow us to trace processes of opinion formation within the theatre community and political establishment, and to show how and why the Culture Ministry had to change its policy on GDR drama in autumn 1978 , a change which historians have previously overlooked. The case study also sheds new light on the nature and extent of regional differences in GDR theatre censorship in the 1970s: whilst East Berlin's First Party Secretary pushed for tighter restrictions than the Ministry, the different decisions reached in other regions can be explained by the changes in central policy. An hand einer Untersuchung der Inszenierungsgeschichte von,Franziska Linkerhand,wirft dieser Beitrag ein neues Licht auf das DDR-Theater nach der Ausbürgerung Wolf Biermanns. Obwohl die Jahre nach 1976 gewöhnlich mit einem Rückgang an künstlerischen Experimenten assoziiert werden, öffnete sich im Frühling und Sommer 1978 neuer Raum für innovative Gegenwartsdramatik. Christoph Schroths bahnbrechende Inszenierung von,Franziska Linkerhand,schien sich in Schwerin anfangs durchgesetzt zu haben, löste in Leipzig und vor allem in Ostberlin jedoch heftige Kontroversen aus. Nach langen Verhandlungen durfte das Stück in Schwerin weiterhin aufgeführt werden, Pläne für neue Inszenierungen in Halle und Wittenberg wurden jedoch gestrichen. Der Beitrag unternimmt den Versuch, an hand dieser Entwicklungen der Meinungsbildung unter Theaterleuten und Funktionären nachzuspüren und somit zu erklären, warum das Ministerium für Kultur im Herbst 1978 seine Linie im Hinblick auf die Gegenwartsdramatik ändern musste. Historiker haben diesen Kurswechsel bisher übersehen. Die Fallstudie bietet auch neue Einsichten in die Ursachen und das Ausmaß regionaler Unterschiede in der DDR-Theaterzensur der siebziger Jahre: während der Erste Sekretär der Ostberliner SED-Bezirksleitung eine strengere Politik als das Ministerium vertrat, lassen sich die unterschiedlichen Entscheidungen in anderen Bezirken durch den Kurswechsel in der zentralen Theaterpolitik erklären. [source] Brecht's Pastiche History Play: Renaissance Drama and Modernist Theatre in Leben Eduards Des Zweiten Von EnglandGERMAN LIFE AND LETTERS, Issue 4 2003Bruce Gaston This article examines Brecht's Leben Eduards des Zweiten von England from the historical perspective of its first performances in 1924, paying particular attention to the status of Renaissance drama in Germany and the emerging Modernist movement. This approach runs counter to previous critical discussions which have been implicitly or explicitly comparative. The emphasis on Marlowe has led to a neglect of the many parallels in Eduard II. with works by Shakespeare, works that Brecht, like most educated Germans, would have known. An examination of attitudes to English Renaissance drama during the period leads to the conclusion that Eduard II. is not a criticism of its model, since minimal knowledge of Edward II meant that most of the audience were not in a position to compare the two plays. Rather, the play is a pastiche, a spurious Renaissance history play that emphasised the aspects of Renaissance drama that corresponded to the Modernist aesthetic paradigm, and that also reflected Brecht's own interests and preoccupations. In Eduard II. a Modernist reinterpretation of Renaissance theatre was put up in opposition to the orthodox view of Shakespeare, and thus embodied a challenge to the dominant theatrical tradition which had claimed Shakespeare as its own. [source] Friedrich Friese's Dialect Comedy of 1687: A Taste of Altenburg School TheatreGERMAN LIFE AND LETTERS, Issue 3 2000Anna Carrdus The little-known work of Friedrich Friese, pupil and then teacher at the school in Altenburg during the late seventeenth and early eighteenth centuries, displays an interest in the popular culture of his day which he united with pedagogic responsibilities. His interest in the customs of the peasant and artisan classes is reflected in his preference for the comic genre, which traditionally focuses on behaviour and misbehaviour among the lower social levels. Friese's work offers insights into school thratre in Altenburg, which flourished in the seventeenth century but has as yet attracted little scholarly attention. The school not only put on hitherto unrecorded performances of plays by the well-known Christian Weise and Andreas Gryphius; between 1660 and 1703 it also presented independent dramas to mark the annual 'Gregoriusfest'. This civic school festival originated in ancient Rome and had many popular elements. Although it was widely celebrated in early modern Germany, celebration in Altenburg was particularly highly developed. Friese prepared several comedies for performance in 'Gregoriusfeste' as 'Nachspiele' to the main, more elevated dramatic pieces by the current Rector of the school. The text of his dialect comedy of 1687 is reprinted at the end of this article as a sample of his work and of Altenburg school theatre. [source] The Court in England, 1714,1760: A Declining Political Institution?HISTORY, Issue 297 2005HANNAH SMITH Although recent studies of eighteenth-century English politics have moved beyond viewing political activity solely in parliamentary terms and consider the extra-parliamentary dimensions to political life, the royal court has not been included in this development. This article seeks to reassess the political purpose of the court of George I, and particularly that of George II, by analysing how the court functioned both as an institution and as a venue. Although the court was losing ground as an institution, with the royal household declining in political importance, the article argues that the household should not be the only means of measuring the court's political role. Through analysing the court's function as a venue for political brokerage and as a type of political theatre, it is argued that the court retained a political significance throughout the period from 1714 to 1760. The article examines the importance of the court as a place where certain forms of patronage might be obtained, and as a location for political negotiation by ministers and lower-ranking politicians. Moreover, it also analyses how the court was employed as a stage for signalling political opinion through attendance, ceremony, gesture, and costume. [source] Making Sense of Theatre in the Third ReichHISTORY COMPASS (ELECTRONIC), Issue 5 2010Gerwin Strobl In the crowded field of studies on Nazi Germany the role of theatre in the Third Reich continues to be a neglected subject. The reluctance to engage with the topic is particularly true among historians and is in striking contrast to the attention devoted in recent years to other branches of the arts. Yet theatre actually received lavish funding from the Nazi regime. Indeed at no time in the history of the German stage was the provision so opulent, and the Nazi leadership went to considerable lengths to maintain the theatre sector even in wartime. The neglect of the theatre therefore constitutes more of a reflection on the priorities of the historical profession than those of the Nazi regime. This article attempts to redress the balance and to explore possible reasons for the limited treatment of the subject in the existing literature. [source] Performing industrial relations: the centrality of gender in regulation of work in theatre and televisionINDUSTRIAL RELATIONS JOURNAL, Issue 3 2007Deborah Dean ABSTRACT Women performers have worked in a formally unsegregated occupation since 1660. However, formal and informal regulation of their access to work can only be understood in the context of their interaction as gendered workers with other, gendered, institutions and processes. This analysis has wider implications for the study of industrial relations. [source] Constrained closed-loop control of depth of anaesthesia in the operating theatre during surgeryINTERNATIONAL JOURNAL OF ADAPTIVE CONTROL AND SIGNAL PROCESSING, Issue 5 2005M. Mahfouf Abstract The constrained version of generalized predictive control (GPC) which employs the quadratic programming (QP) approach is evaluated for on-line administration of an anaesthetic drug in the operating theatre during surgery. In the first instance, a patient simulator was developed using a physiological model of the patient and the necessary control software was validated via a series of extensive simulation experiments. Such a validated system was then transferred into the operating theatre for a series of clinical evaluation trials. The clinical trials, which were performed with little involvement of the design engineer, led to a good regulation of unconsciousness using fixed-parameters as well the adaptive version of the algorithm. Furthermore, the constrained algorithm displayed good robustness properties against disturbances such as high stimulus levels and allowed for safe and economically effective administration of the anaesthetic agent isoflurane. Copyright © 2005 John Wiley & Sons, Ltd. [source] | ||||||||||||||||||||||||||||||||||||||||||||||