How do twenty-first-century theatre practitioners negotiate the dynamics of tradition and innovation across the works of Samuel Beckett? Beckett’s own tendencies towards fluidity of genre, iteration/ repetition, and collaboration – modes that also define the ‘experimental’ – allow for greater openness than is often assumed. Reading recent performances for creative uses of embodiment, environment, and technology reveals the increasingly interdisciplinary, international, and intermedial character of contemporary Beckettian practice. The experimentation of current practitioners challenges a discourse based on historical controversies, exposing a still-expanding terrain for Beckett in performance.

When a script stipulates actions, gestural routines and mental models for a character that clash with the personal values of the actor, it creates dissonance between what the actor (as person) believes, represents or feels, and that which the character (as fictional construct) is interpreted to represent. This dissonance may negatively impact on the believability of the actor inhabiting the ‘as if ’ world of the character. The article proposes a theoretical approach to navigating this potentially performance-restricting dissonance through a cross-disciplinary approach that draws on embodiment, embodied imagination and empathy. Personal restrictions, values, socialization, culture and impulse avoidances are subjectively sculpted and embodied in and through lived experiences. In articulating the proposed approach, the article places emphasis on practically guiding and enabling the actor to manage these embodied experiences, personal values and subjective restrictions in relation to material that is perceived to be challenging and uncomfortable. This article does not aim at theorizing or expanding on character development techniques, but rather to facilitate finding ways to navigate actor–character dissonance while remaining sensitive to actors and their respective processes in engaging with, and depicting, a character in a competent and believable manner. Instead of forcing actors to work through restrictions or adversely dislodging talented actors from a production due to seemingly unmanageable dissonances, this article argues for possible solutions to manage contradictory values and stances respectfully through a multi-layered process. The article will address concepts such as personal views, mental models, socialization, will, empathy, imagination, gesture and motor intentionality.

As well as ‘play-makers’ and ‘poets’, playwrights of the early modern period were known as ‘play-patchers’ because their texts were made from separate documents. This book is the first to consider all the papers created by authors and theatres by the time of the opening performance, recovering types of script not previously known to have existed. With chapters on plot-scenarios, arguments, playbills, prologues and epilogues, songs, staged scrolls, backstage-plots and parts, it shows how textually distinct production was from any single unified book. And, as performance documents were easily lost, relegated or reused, the story of a play’s patchy creation also becomes the story of its co-authorship, cuts, revisions and additions. Using a large body of fresh evidence, Documents of Performance brings a wholly new reading of printed and manuscript playbooks of the Shakespearean period, redefining what a play, and what a playwright, actually is.

Theater translation is an emerging area of research. However, to date, there has been no detailed consideration of the type of methodologies required to conduct such research. This article examines methods and practices in both theater and translation studies in order to discuss their applicability to study theater translation specifically. It categorizes existing research into output-oriented and process-oriented elaborating the specificities of each. The methods include comparative analysis of the translated texts with their source texts and production reviews. This article also outlines ethical issues in conducting research into theater translation.

Soon after he was consecrated bishop in 963, AEthelwold of Winchester (909 -84) began to promulgate a series of new rules for worship and religious life in the monasteries of England. In one passage that is well known to theatre historians, AEthelwold insisted on the following performance of the Easter morning liturgy.

Current acting orthodoxy values immediacy and spontaneity above most other histrionic virtues. This has leading 'Stanislavskian' directors such as Declan Donnellan, Katie Mitchell and Max Stafford-Clark to focus primarily on action-playing; an emphasis which has itself been rejected in favour of the supremacy of intuitive reaction. Both approaches turn their backs on the idea of character as an entity distinct from the actor -character is defined exclusively as 'passion-in-action'. This approach (mis)directs the concept of character away from social and psychological categories and in so doing is blind to the interpretative value of considering characters not only as individuals but also as representing a group. The paper argues that a fully embodied character transcends questions of individual behaviour and motivation and acknowledges the 'typical' dimensions of character. The paper further outlines an alternative (and older) understanding of character creation which is essentially mimetic and an approach to acting that foregrounds a psychophysical transformative process.

Avant-garde theatre is often invoked as the bellwether for a society that has become postdramatic – fragmented, alienated, and critical of efforts to create collectively shared meanings. A theatre whose sequenced actions have no narrative (so the story goes) mirrors a social world where the most conflictual situations no longer appear as drama but merely as spectacle: a society where audiences look on without any feeling or connection. Because only half right, these theses about postdramatic theatre and society are fundamentally wrong. As modern societies have expanded and differentiated, the elements that compose performances have become separated and often fragmented in both theatre and society. If they can be brought back together again, performances are viewed as authentic and meaningful. If (re)fusion cannot be achieved, performances fail to communicate meaning. The aim of this essay is to demonstrate that a shared ambition to (re)fuse fragmented performative elements has defined the most important strain of avant-garde theatre over the last two centuries. Most radical theatrical innovation has sought to open live drama back up to the telos of myth and ritual. Neither in theatre nor social life can the world transcend dramaturgy; it is fundamental to the search for meaning in a world beyond cosmological religion.

In the last years, strong efforts have been made to construct theoretical and methodological models that evaluate work characteristics and health effects in occupational groups. Among the proposed models, the Demand-Control Model has had a worldwide use. This model identifies two job dimensions in the work situation: psychological job demand and job control. The Job Content Questionnaire (JCQ) has been proposed as an instrument for measuring these work dimensions. This study aim to present the theoretical and methodological bases of the Demand-Control Model and to discuss this model capability to identify different work situations in the Brazilian context, using the JCQ. Preliminary results from two cross-sectional epidemiological studies are presented and discussed in this article. These studies evaluated work psychosocial aspects, using the JCQ, and mental health, using the SRQ-20. The results indicated a good model capability to identify different risk situations for workers' mental health. Aspects related to psychological demand were much strongly associated with high prevalence of minor psychological distress than the aspects related to control.

Recebido em 15/9/00; aceito em 23/5/01 CHARACTERIZATION OF RICE HUSK ASH FOR USE AS RAW MATERIAL IN THE MANUFACTURE OF SILICA REFRACTORY. The characterization of rice husk ash, a deriving byproduct of the burning of the rice husk during the rice processing is the object of this study. This byproduct, for being rich in silica, can be an important raw material for the production of siliceous ceramics, such as thermal insulators and refractory. A combination of surface analysis, thermal analysis and microscopy analysis techniques was used for the characterization. The characterized by-product presented as main component the silica, under amorphous form, with a maximum content of alkalis around 1%, features that become it potentially interesting for the production of ceramic materials.

This article aims to reflect on experience as a research construct in applied linguistics research on classroom foreign language teaching and learning in Brazil. The motivation for investigating experiences provides the rationale for a survey on the reference to experience in the titles and abstracts of articles published from 2000 to 2005. This is followed by a review of the meaning of experience in philosophy and cognitive sciences and of the research which refer to experience. A discussion of its importance and implications for an epistemology for classroom foreign language teaching is followed by suggestions of further research on teachers' and students' experiences so as to reveal the processes and dynamics associated to them aiming for meaning, change and transformation in the language classroom as well as a new boost on classroom language learning and teaching research.

A partir da teoria sociointeracionista da educação e da trajetória das práticas pedagógicas nas sociedades ocidentais, o artigo apresenta a espiral construtivista como uma metodologia ativa de ensinoaprendizagem. Discute as origens e a utilização de metodologias ativas no ensino superior, focalizando: a aprendizagem baseada em problemas, a metodologia da problematização, o método científico e o uso de narrativas, simulações ou atuações em cenários reais de prática. A exploração da espiral construtivista, de acordo com os movimentos: "identificando problemas"; "formulando explicações"; "elaborando questões"; "construindo novos significados"; "avaliando processo e produtos", destaca semelhanças e diferenças em relação às metodologias ativas focalizadas. Para além dos aspectos metodológicos envolvidos, a intencionalidade educacional na utilização da espiral construtivista é explicitada pela natureza dos disparadores de aprendizagem utilizados e pelo sentido transformador da realidade derivado da postura crítica e reflexiva na interação do "sujeito" e "objeto". Palavras-chave: Metodologia. Ensino. Aprendizagem ativa. Educação Superior. (a) Programa de Pós-Graduação em Gestão da Clínica, Centro de Ciências Biológicas e da Saúde, Universidade Federal de São Carlos. Rodovia Washington Luis, km 235. São Carlos, SP, Brasil. 13655-905. valeriavl@ufscar.br 2017; 21(61):421-34 421 COMUNICAÇÃO SAÚDE EDUCAÇÃO artigos Lima VV. Constructivist spiral: an active learning methodology. Interface (Botucatu). 2017; 21(61):421-34.

Based on the case study of a Fringe theatre festival in a peripheral city in Israel, this article identifies and analyzes a moment of change in power relations between a peripheral city and the country's central city. It offers an alternative perspective to urban discourse, which analyzes art projects in peripheral cities as duplicating colonial relations. We adapted the Marxist concept of a class in itself and a class for itself, from the socioeconomic realm to the urban realm, by using Bourdieu's field theory as a link between the sociology of art and the urban realm. We argue that by taking control over the festival's productive forces, the city evolved from a city in itself to a city for itself. Drawing on ethnographic fieldwork and architectural research, the article analyzes four decades of urban dynamics leading to this change and proposes a theoretical and methodological framework for deciphering contemporary urban process.

Rangoon circa 1900 was known as 'one of the best show towns in the East'. As the capital city of Burma, then ruled from Calcutta as a province of India, it was home to more Indian nationals than Burmese. In this cosmopolitan context, two vernacular arts complexes — the Parsi theatre of India and the popular zat-pwe of Burma — flourished, competed, and converged. This article documents the 55-year long engagement of Parsi theatre in Burma within the larger history of global theatrical flows in the Indian Ocean. It highlights the story of Dosabhai Hathiram, a theatre man who rooted himself in Rangoon his entire life. And it asks, why was Parsi theatre celebrated elsewhere in Southeast Asia as a vector of modernity, and yet in Burma it left scarcely a trace behind? The history of the Parsi theatre in Burma has long been overlooked within the larger history of global theatrical flows. This article redresses the omission by documenting the Burma-based activities of Parsi theatrical troupes over a remarkably long period, some 55 years. It focuses in particular on an intriguing life story, that of actor Dosabhai Hathiram, a Bombay man who rooted himself in Rangoon for most of his career. His movements across regions, languages, and ethnic communities prompt questions of transnational engagement and impact, even as they trace the extensive theatrical circuits of Parsi theatre companies in the eastern Indian Ocean. The emergence of global history approaches over the past two decades has been very useful to understanding the development of modern and transitional theatrical practices in South and Southeast Asia. 1 The transnational circulation of Parsi theatre needs to be more widely acknowledged and contextualised within this body of literature. So far, most of the scholarship on the beginnings of modern theatre in Asia documents the transoceanic adventures of anglophone companies as they carried 1 'Transitional' refers to an intermediary category between traditional and modern in Asian Theatre Studies, often associated with the period of British colonialism and 'Western' practices such as commercial companies, the proscenium stage, and the prevalence of melodrama. Hanne de Bruin's designation 'hybrid popular' is also used for this kind of theatre.

Paper available at: https://rdcu.be/bxgWy

In this article I focus on the authorship of "Siempre ayuda la verdad", an early modern Spanish play first published in 1635 as part of the volume "Segunda parte de las comedias del maestro Tirso de Molina". This drama, which is one of several early modern Iberian plays related to the figure of Inês de Castro, is currently considered by most scholars as penned by Juan Ruiz de Alarcón, probably in collaboration with Luis de Belmonte and maybe even with Tirso de Molina. In the first part of this paper I will examine how this traditional attribution relies on a bibliographic ghost, subjective impressions of style, and the creation of a scholarly discourse based on the repetition of statements—including some explicitly made up—without any critical examination of facts. The possible attribution of this play to none other than Lope de Vega—a name that has been associated with "Siempre ayuda la verdad" since 1906—has not received specific examination until now. I will proceed to do so in the second part of this paper by using a variety of resources that offer objective criteria: early modern documentation, strophic versification, stylometry, and orthoepy.

This article considers some preliminary reflections in view of a
20th century theatre-and-neuroscience history. Up to now, the history of the 20th century theatre has been too fragmentary and irregular, missing out on the subterranean links which, either directly or indirectly, bound different experiences. The article aims to put in evidence the recurrent problems of these encounters. The hypothesis of the essay concerns the possibility of gathering and grouping a great part of the relationships between theatre
and neuroscience around four trajectories: the physiology of action, the physiology of emotions, ethology, and studies on the spectator’s perception.

This article provides a stylistic examination of Sidney Lumet's thriller Deathtrap (1982), analyzing how its strategies of staging and performance generate narrational effects of suspense and surprise. It argues that Lumet anchors these performative strategies to a broad authorial program grounded in expressive subtlety; as such, Lumet's film reminds us of a waning tradition of US filmmaking in which stylistic ingenuity resides at the denotative and expressive (rather than the decorative or parametric) levels of stylistic discourse. The article treats Lumet's stylistic choices as creative solutions to a distinctive set of aesthetic problems. It canvasses-and identifies the functions of-the motivic staging schemas patterned throughout Deathtrap; and it illuminates how these schemas, actuated by star players, shape the viewer's cognitive uptake in substantive ways.

This article analyses Marina Carr’s first four plays: Low in the Dark (1989), The Deer’s Surrender (1990), This Love Thing (1991) and Ullaloo (1991). It aims to show how Carr seeks to eschew the mimetic conventions of what can be seen as a dominant, patriarchal theatre establishment, marking (and possibly maintaining) her marginal position as a theatre-maker at the time. I argue that Carr, at this point in her career, was engaged in distinctly feminist theatre practices. Materialist feminist discourse provides a useful framework for understanding what the emergent dramatist was trying to achieve and the meaningful possibilities her work. A study of this phase of Carr’s career, encompassing all four works preceding The Mai, has not been offered in research on the dramatist to date. In addition to expanding the history of feminist theatre practice in Ireland, it promotes an enriched understanding of Carr’s theatre as a whole.

Creative imagination is a central concept in critical philosophy which establishes the framing faculty of the subject in the middle of the cognitive process. Linking the internal and the external, imagination is also key for dramatic acting methodologies. This mediation has been alternatively interpreted in Western tradition under a reversible perspective, giving priority to either the process that goes from the outside inwards (aesthesis) or just the opposite (poiesis). Going beyond dialectics, this article will connect philosophy with dramatic theory. My proposal explores the virtual drama of identity to emphasise how the transcendental and empirical get linked theatrically.

cardiac synchrony is a crucial component of shared experiences, considered as an objective measure of emotional processes accompanying empathic interactions. no study has investigated whether cardiac synchrony among people engaged in collective situations links to the individual emotional evaluation of the shared experience. We investigated theatrical live performances as collective experiences evoking strong emotional engagement in the audience. Cross Recurrence Quantification Analysis was applied to obtain the cardiac synchrony of twelve spectators' quartets attending to two live acting performances. this physiological measure was then correlated with spectators' emotional intensity ratings. Results showed an expected increment in synchrony among people belonging to the same quartet during both performances attendance and rest periods. furthermore, participants' cardiac synchrony was found to be correlated with audience's convergence in the explicit emotional evaluation of the performances they attended to. These findings demonstrate that the mere co-presence of other people sharing a common experience is enough for cardiac synchrony to occur spontaneously and that it increases in function of a shared and coherent explicit emotional experience. Collective experiences are ubiquitous aspects of human culture where emotional activity finds its breeding epi-center. Being involved in collective events, like religious rituals, parades or team sports, fosters prosociality 1 and contributes to the creation of emotional bonds among group members 2. Coherently, it has been shown that the presence of others modulates how individuals feel, express and perceive emotions 3. Amongst the various group experiences populating our social life, specific forms of "collective art" can be included. Indeed, even if some forms of art can be described as "individual", in the sense that usually people enjoy them alone, others are commonly appreciated together with other people. This is the case of several performative arts (e.g., theatre, dance, music) in which people share the artistic experience as part of a group. Studies show that people react differently to these forms of art if they enjoy them alone or with others, suggesting that the presence of others plays a role. For example, at the autonomic level, people react more to music when they are alone than when are in a group 4,5. Differently, watching an aggressive movie clip modulates spectator's subsequent behaviors, on the basis of the attitude of the co-spectators 6. Furthermore, how people react to the mere presence of others influences their parasympathetic response to shared filmic experience 7. One interesting component of collective experiences, that recently drew increasing attention, is the spontaneous synchronization among group members. Synchrony is a well-known phenomenon occurring at different levels (e.g., behavioral, physiological and neural), and it is related to the presence of similar reactions among group members within a short period of time. For example, people spontaneously synchronize their body movements when engaged in a conversation 8,9 , and these coordinated movements contribute to observers' perception of affiliation 10. Similarly, verbal synchrony in large groups produces affiliation feelings and increases group members' coordinative efforts 11. Furthermore, inter-brain synchrony has been found associated with coordination of speech rhythm in human-to-human social interactions 12. Interestingly, being in a group performing a simple motor task is enough to induce spontaneous behavioral and physiological group synchrony 13. In the context of collective forms of art, studies demonstrate that

As for Shakespeare, a hard-fought debate has emerged about Molière, a supposedly uneducated actor who, according to some, could not have written the masterpieces attributed to him. In the past decades, the century-old thesis according to which Pierre Corneille would be their actual author has become popular, mostly because of new works in computational linguistics. These results are reassessed here through state-of-the-art attribution methods. We study a corpus of comedies in verse by major authors of Molière and Corneille’s time. Analysis of lexicon, rhymes, word forms, affixes, morphosyntactic sequences, and function words do not give any clue that another author among the major playwrights of the time would have written the plays signed under the name Molière.

THE BRASILIANO OROGENY AT THE CENTRAL SEGMENT OF RIBEIRA BELT, BRAZIL The structure of the central segment of the Ribeira belt is defined by three large thrust sheets (Lower, Intermediate and Upper) which override the autochthonous domain, towards the southern portion of the São Francisco Craton. Four lithotectonic associations are individualized within the domains: basement rocks (pré-1,8 Ga rocks); orthogneisses of unknown age; Post-1,8 Ga metasedimentary cover and Brasiliano granitoid rocks. Continental tholeiitic deformed dykes and disrupted lenses within the cover indicate extensional periods. Investigation of the tectono-metamorphic and magmatic aspects, associated with new U/Pb geocronological data support the subdivision of Brasiliano Orogeny within three main tectonic periods: a) the syn-collisional period (590-563 Ma) is represented by the main deformation (D 1+2 ), coeval with the MI metamorphic stage and γl -γ3 granitoid rocks. Crustal shortening took place initially through ductile thrusts and tight recumbent folds. The late stage of this collisional event is characterized by oblique convergence, with pervasive deformation throughout the belt. MI had its thermal peak during D 2 , and is characterised by intermediate to high pressures. The spatial distribution of the metamorphic zones defines an inverted gradient. Deformed I and S type granitoid rocks occur during this period, b) the post-collisional period (535-520 Ma) is characterized by D 3 deformation, coeval with M 2 metamorphic stage. During DS phase, the oblique convergence continued, but was accomodated by late to post-metamorphic peak strike slip ductile shear zones. Between these shear zones, shortening was achieved by steep folding of S 2 foliation. The Ma stage with lower pressure regime is associated with intense melting of the basement and the cover, resulting in the generation of I-type magmatism and subordinated S-type; and c) the post-tectonic period is represented by the Post-D4 γ 5 magmatism registered between 503 to 492 Ma. This magmatism may be related to melting of crustal rocks associated with mantelic contribution related with high temperature conditions and uplift just after the Brasiliano Orogeny.

Australia's theatre for young audiences (TYA) has concentrated on young people's interest in techno-savvy narrative complexities since the early 1990s, and has done so with positive outcomes. Building from a reflective inquiry, which is based on a TYA practitioner's viewpoint, I explore two Australian contemporary theatre productions for mixed audiences: My Darling Patricia's Africa (2011) and Fleur Elise Noble's 2 Dimensional Life of Her (2011), which utilize old and new technologies for differing purposes. I present the following article in two parts: The first section briefly contextualizes TYA plays in Australia using digital technologies, along with a review of the literature that introduces an ongoing dialogue about digital media in theatre. The second part showcases the creative development process and the synopsis of Africa and 2 Dimensional Life of Her before I discuss the use of old technology in Africa in the form of a techno-tele-character, and the impact of new technologies in 2 Dimensional Life of Her as a transmediated theatrical occurrence. Recommendations are made for ways that TYA practitioners might consider mixing old and new technologies with the live to compete in the cultural marketplace.

Arts festivals have been explored through many lenses, but social media
marketing and digital performance are less studied. The potential of
social media networks in digital performance is exemplified by the
London International Festival of Theatre (LIFT), which repositions social
media technology as an enabler for audiences to co-produce digitally
oriented performance. This article argues that the relationship between
social mediamarketing and performance is more hybridized than often
assumed, with performances forming a creative development loop from
producer to audience through performative social media. Harnessing
the creative potential of social media platforms via “digital staging”
encourages audience insight into process as well as product.

Abstract The use of Complementary and Integrative
Practices (CIP) is on the increase and
its institutionalization in Primary Health Care
(PHC) is a challenge. This article discusses the
use, care, and policies of CIP at international and
national levels found in the indexed literature. A
review of the literature in PubMed/Medline and
the Virtual Health Library was conducted using
the key search words “Homeopathy,” “Acupuncture,”
“Herbal Medicine,” “Body Practices,” “Primary
Health Care” and other related terms in
English, Spanish and Portuguese between 2002
and 2011. The use in the literature of CIP for the
treatment of specific diseases from a biomedical
perspective was observed, as well as evaluations of
its use for the treatment of specific diseases focused
on the reaction of the users and professionals and
the analysis of the political, economic and social
viability of CIP in health services. The conclusion
drawn is that what is predominant in the literature
is the quest for the scientific validation of
CIP and a biomedical methodological bias in the
designs of the studies, which does not contribute to
clarifying the potential care of CIP in PHC.
Key words Systematic review, Integrative medicine,
Complementary therapies, Primary health
care.

Introduction now posted. The popularity of today's courtroom media spectacles--from televised trials to bestselling fiction--reflects a centuries-old Western tradition. In this ground-breaking exploration of the "origins" of medieval drama, Jody Enders redefines the very concept of origins as she deepens our understanding of the relationship between theater and law.

Thanking all those who have requested that I upload a copy, very sorry not to be able to oblige but copyright law forbids it.  Amazon.com or abebooks.com often have great deals on used copies.  JE

The proliferation of robots in performative arts has brought awareness to a new kind of performative intervention, which -- uncanny by its very origin -- revisits the idea of human animatedness, and, more importantly, enquires after the nature and role of objects that have already functioned mostly as props. Inspired by contemporary machine performances - from Bill Vorn’s human-robot spectacles, to Marco Donnarumma’s performative fusions with technological things, to Giles Walker’s Robotic Burlesque, to Oriza Hirata’s quiet robot theatre -- the article analyses robots’ stage appearances to interpret them in terms of ‘demonic interventions’. Following the historically grounded reputation of automata as demon-like creatures, the article outlines the role of robots in performative art, with a special focus on the posthuman climax in which the human element seems to be gradually possessed by the ‘machinic’ (the robotic, the technologically engendered). The article explores the motivations of our turn to ‘technological objects’ to see why, despite much fear and scepticism, we invite them to spaces - ontological and performative - so far reserved for humans.

Thanking all those who have requested that I upload a copy, very sorry not to be able to oblige but copyright law forbids it.  That said, I think that enough time has elapsed--with enough reviewable work out there--that I'm happy to be able to upload the Introduction! Thanks again, all for your interest. Amazon.com or abebooks.com often have great deals on used copies.  JE

Why did medieval dramatists weave so many scenes of torture into their plays? Exploring the cultural connections among rhetoric, law, drama, literary creation, and violence, Jody Enders addresses an issue that has long troubled students of the Middle Ages. Theories of rhetoric and law of the time reveal, she points out, that the ideology of torture was a widely accepted means for exploiting such essential elements of the stage and stagecraft as dramatic verisimilitude, pity, fear, and catharsis to fabricate truth. Analyzing the consequences of torture for the history of aesthetics in general and of drama in particular, Enders shows that if the violence embedded in the history of rhetoric is acknowledged, we are better able to understand not only the enduring "theater of cruelty" identified by theorists from Isidore of Seville to Antonin Artaud, but also the continuing modern devotion to the spectacle of pain.