Transforming tradition: performances of Jingju ('Beijing Opera') in the UK

Jingju (‘Beijing opera’) is China's most iconic traditional theatre, marketed as a global signifier of Chinese theatre and national identity. Although troupes from mainland China regularly tour Europe, audiences in the UK have also had access to Jingju via two indigenous organizations: the UK Beijing Opera Society (now defunct) and the London Jing Kun Opera Association (now in its ninth year). These organizations consist of Chinese, overseas Chinese and Western performers performing both Jingju and Kunju (‘Kun opera’). Where there is a mix of ethnicity, can ‘traditional Chinese theatre’ still be conceived of as ‘traditional’? How is Jingju mapped onto non-Chinese bodies? Can Jingju performances by ethnically white performers reflect diasporic identities? Drawing on the theories of Judith Butler and Homi Bhabha, this article argues that by highlighting the performativity of identity, the performance of Jingju by non-Chinese performers challenges the notion of Jingju as a global signifier of ‘authentic traditional Chinese theatre’.

Understanding distributions of chess performances

This paper presents evidence for several features of the population of chess players, and the distribution of their performances measured in terms of Elo ratings and by computer analysis of moves. Evidence that ratings have remained stable since the inception of the Elo system in the 1970’s is given in several forms: by showing that the population of strong players fits a simple logistic-curve model without inflation, by plotting players’ average error against the FIDE category of tournaments over time, and by skill parameters from a model that employs computer analysis keeping a nearly constant relation to Elo rating across that time. The distribution of the model’s Intrinsic Performance Ratings can hence be used to compare populations that have limited interaction, such as between players in a national chess federation and FIDE, and ascertain relative drift in their respective rating systems.

Mutated bodies: stage performances of Beckett's late prose texts by Mabou Mines (1984) and Gare St. Lazare Players, Ireland (2005)

An exploration of the stage adaptations of Beckett's fictional texts by the New York based Mabou Mines theatre company.

The Prophetic Sound: a day and night of noise cabaret(symposium of talks and live performances)

'The Prophetic Sound: a day and night of noise cabaret' is the first event hosted by Agency of Noise. This all day event brought together artists and academics whose subject of focus is noise (in creative practice). Artists from across the UK were invited to consider a future post-digital era in which everything with a microchip has malfunctioned, as a thought exercise and starting point for response through sound. In response to Jacques Attali’s claim that music is prophecy, The Prophetic Sound asks us to consider if noise can communicate in an unbridled, unfiltered, way that is somehow not culturally coded -before it becomes sound that is recognised, refined, manipulated and exploited for musical or other cultured purpose. Featuring students from Reading, Brighton, LCC and Goldsmiths alongside more established artists and academics from across the UK, this event brings into focus locations where pattern, timbre, pitch, organisation and sequencing of sounds become distinguishable from noise and asks us to consider, through diversion within such locations, new origins for future communication systems. The Prophetic Sound included talks, films, presentations and performances from: Ryo Ikeshiro / Inigo Wilkins / Neal Spowage / Dane Sutherland / Poulomi Desai / Benedict Drew / AAS / Polly Fibre / Steven Dickie As part of The Prophetic Sound, POLLYFIBRE (Ellison, C.) performed LIVE RECORDING with Amplified Scissors. This industrial activity by POLLYFIBRE short-circuits the complicated chain that is music production. The distinctive roles of consumer, producer, composer, and performer collapse in a series of live ‘cuts’ where vinyl discs are produced with amplified scissors. Production happens through action and action becomes production. A limited edition of 9 flexi discs were produced and available for special collectors at the event.

Developing social skills in autistic children through ‘Relaxed Performances’

Families living with autism often feel unable to attend social and cultural events largely due to the fear of their child attracting negative or even aggressive reactions from others. The ‘joint attention’ that is part of the theatre experience however may be a powerful factor in the development of social and communication skills for such children. ‘Relaxed performances’ offer an opportunity for them to access and engage with theatre by making special arrangements designed to reduce tensions associated with visits to public places. Aspects of the production such as the use of lighting and sound effects which may trigger adverse reactions are also adjusted. This paper reports on how one local theatre drew on the findings of a national project to mount a ‘relaxed performance’ of their annual pantomime. It discusses the theatre’s preparations and presents evidence of the impact the event had on local children with autism and their families. The success of both the national and this local project marks a new beginning for improved access to the theatre for an audience that has hitherto felt largely excluded.

Introducing children with special educational needs to theatre through ‘Relaxed Performances’

This short chapter explains how a growing number of theatres are beginning to offer families living with autism and other disabilities opportunities to attend without fear of alienation or rejection by other audience members. Using one small theatre as a case study, the chapter illustrates the sort of adaptations that are made to the performance and front of house arrangements.

Widening participation in theatre through ‘relaxed performances’

This paper what 'relaxed performances' are and how a growing number of theatres are beginning to offer them to families living with autism and other disabilities opportunities to attend without fear of alienation or rejection by other audience members. Using one small theatre as a case study, the chapter illustrates the sort of adaptations that are made to the performance and front of house arrangements and reports on the positive effects one particular relaxed performance had on some of those who attended.

Comparison of SERS performances of Co and Ni ultrathin films over silver to electrochemically activated Co and Ni electrodes

In this work, the surface-enhanced Raman scattering (SERS) spectra of pyridine (py) on thin films of Co and Ni electrodeposited on an Ag electrode activated by oxidation-reduction cycles (ORC) are presented. The SERS spectra from the thin films were compared to those of py on activated bare transition metal electrodes. It was verified that the SERS spectra of py on 3 monolayers (ML)-thick films of Ni and Co presented only bands assignable to the py adsorbed on transition metal surfaces. It was also observed that even for 50 ML-thick transition metal films, the py SERS intensity was ca. 40% of the intensity from the 3 ML-thick films. The relative intensities of the SERS bands depended on the thickness of the films, and for films thicker than 7 ML for Co and 9 ML for Ni they were very similar to those of the bare transition metal electrodes. The transition metal thin films over Ag activated electrodes presented SERS intensities 3 orders of magnitude higher than the ones from bare transition metal electrodes. These films are more suitable to study the adsorption of low Raman cross-section molecules than are ORC-activated transition metal electrodes.

Optimization of performances of gelatin/LiBF(4)-based polymer electrolytes by plasticizing effects

Gelatin is a cheap and abundant natural product with very good biodegradation properties and can be used to obtain acetic acid or LiClO(4)-based gel polymer electrolytes (GPEs) with high ionic conductivity and good stability. This article presents results of GPEs obtained by the plasticization of gelatin and addition of LiBF(4), where the optimization of the system was achieved by using a factorial design type 22 with two variables: glycerol and LiBF(4). From this analysis it was stated that the effect of glycerol as a plasticizer on the ionic conductivity results is much more important than the effect obtained by varying the lithium salt content or the effect of the interaction of both variables. Also all the samples were characterized by X-ray diffraction measurements, UV-vis-NIR spectroscopy and scanning electron microscopy (SEM) and impedance spectroscopy. The ionic conductivity results of all analyzed samples as a function of temperature obey predominantly an Arrhenius relationship and the samples are stable up to 160 degrees C. Good conductivity results combined with transparency and good adhesion to the electrodes have shown that gelatin-based GPEs are very promising materials to be used as solid electrolytes in electrochromic devices. (C) 2009 Elsevier Ltd. All rights reserved.

Polvo violonista : sistema multiagente para simulação de performances em violão

Este trabalho apresenta um sistema multiagente que permite simular execuções musicais em violão. Em uma execução musical no violão observam-se elementos distintos que, trabalhando em conjunto, produzem a sonoridade desejada pelo músico. Ou seja, as ações tomadas pelo violonista, através do sincronismo de suas mãos sobre o instrumento, influenciam diretamente na sonoridade obtida. A idéia básica deste trabalho é desenvolver uma comunidade de agentes que represente as entidades envolvidas em uma performance musical de violão. Quatro agentes foram identificados e modelados no contexto desta dissertação. São eles: Mão Esquerda (ME): Responsável pela execução dos acordes, ou seja, deve possuir o conhecimento de formação de acordes dada a afinação do instrumento bem como a interpretação das cifras que representam os acordes. Agente Mão Direita (MD): Responsável pelo ritmo impresso na música; Caixa de Som (CS): Permite que os usuários simplesmente escutem a composição, sem nenhuma (ou muito pouca) interferência na composição. Agente Solista (SL): Projetado somente para ler arquivos MIDI e enviar notas para o Agente Caixa de Som (CS). O conhecimento relativo ao reconhecimento das cifras, geração do acorde e posterior cálculo do desenho do acorde para um instrumento de corda foi encapsulado em duas bibliotecas que visam auxiliar no desenvolvimento de outros novos projetos que necessitem de funcionalidades similares. Ainda, são abordadas as questões da comunicação entre os agentes e componentes gráficos utilizados na captura de informações rítmicas. O material musical produzido pelo sistema está contido no CD-ROM em anexo, bem como a documentação das API’s.

Performances da escrita

Este artigo aponta as características de uma escrita performática a partir do cruzamento entre o discurso ficcional, o discurso filosófico e o discurso crítico como formas equivalentes de experiência. Busca-se compreender os diferentes contextos em que a performance, como campo de experimentação, invade a área dos estudos literários, produzindo efeitos de deslocamento do cânone e seus modos de legitimidade, bem como visa a problematizar os lugares determinados do emissor e do receptor do texto; do artista, do filósofo e do crítico