Narrativising the facts: acting in screen and stage docudrama

This article presents findings and seeks to establish the theoretical markers that indicate the growing importance of fact-based drama in screen and theatre performance to the wider Anglophone culture. During the final decade of the twentieth century and the opening one of the twenty-first, television docudrama and documentary theatre have grown in visibility and importance in the UK, providing key responses to social, cultural and political change over the millennial period. Actors were the prime focus for the enquiry principally because so little research has been done into the special demands that fact-based performance makes on them. The main emphasis in actor training (in the UK at any rate) is, as it always has been, on preparation for fictional drama. Preparation in acting schools is also heavily geared towards stage performance. Our thesis was that performers called upon to play the roles of real people, in whatever medium, have added responsibilities both towards history and towards real individuals and their families. Actors must engage with ethical questions whether they like it or not, and we found them keenly aware of this. In the course of the research, we conducted 30 interviews with a selection of actors ranging from the experienced to the recently-trained. We also interviewed a few industry professionals and actor trainers. Once the interviews started it was clear that actors themselves made little or no distinction between how they set about their work for television and film. The essential disciplines for work in front of the camera, they told us, are the same whether the camera is electronic or photographic. Some adjustments become necessary, of course in the multi-camera TV studio. But much serious drama for the screen is made on film anyway. We found it was also the case that young actors now tend to get their first paid employment before a camera rather than on a stage. The screen-before-stage tendency, along with the fundamental re-shaping that has gone on in the British theatre since at least the early 1980s, had implications for actor training. We have also found that theatre work still tends to be most valued by actors. For all the actors we interviewed, theatre was what they liked doing best because it was there they could practice and develop their skills, there they could work most collectively towards performance, and there they could more directly experience audience feedback in the real time of the stage play. The current world of television has been especially constrained in regard to rehearsal time in comparison to theatre (and, to a lesser extent, film). This has also affected actors’ valuation of their work. Theatre is, and is not, the most important medium in which they find work. Theatre is most important spiritually and intellectually, because in theatre is collaborative, intensive, and involving; theatre is not as important in financial and career terms, because it is not as lucrative and not as visible to a large public as acting for the screen. Many actors took the view that, for all the industrial differences that do affect them and inevitably interest the academic, acting for the visible media of theatre, film and television involved fundamentally the same process with slightly different emphases.

‘New World and Old Europe: American Screen Images of Britain and France‘

Contrary to the dearly held belief by Britons that among the nations of the world, they are the favourites of the Americans, Holliwood movies show that even today, judging by the accents of "baddies", the English incarnate the arch-enemy. French villains come a close second. Britain and France are the reactionary, corrupt "old Europe" from whom the Americans tried to cut away ever since 1775, and it is actually the Central-East European countries who as "new Europe" enjoy greater popularity as bearers of hope.

Measuring variation in potato roots in both field and glasshouse: the search for useful yield predictors and a simple screen for root traits

Aims Potatoes have an inadequate rooting system for efficient acquisition of water and minerals and use disproportionate amounts of irrigation and fertilizer. This research determines whether significant variation in rooting characteristics of potato exists, which characters correlate with final yield and whether a simple screen for rooting traits could be developed. Methods Twenty-eight genotypes of Solanum tuberosum groups Tuberosum and Phureja were grown in the field; eight replicate blocks to final harvest, while entire root systems were excavated from four blocks. Root classes were categorised and measured. The same measurements were made on these genotypes in the glasshouse, 2 weeks post emergence. Results In the field, total root length varied from 40 m to 112 m per plant. Final yield was correlated negatively with basal root specific root length and weakly but positively with total root weight. Solanum tuberosum group Phureja genotypes had more numerous roots and proportionally more basal than stolon roots compared with Solanum tuberosum, group Tuberosum genotypes. There were significant correlations between glasshouse and field measurements. Conclusions Our data demonstrate that variability in rooting traits amongst commercially available potato genotypes exists and a robust glasshouse screen has been developed. By measuring potato roots as described in this study, it is now possible to assess rooting traits of large populations of potato genotypes.

Cosmic effects on the intimate screen: J. B. Priestley, Ralph Richardson and 'Johnson over Jordan' (1965)

This article considers ideas about the suitability of experimental, non-naturalist, narrative forms in theatre and television, through the example of a 1965 BBC2 adaptation of J. B. Priestley's 1939 play Johnson over Jordan. Using both textual analysis of the programme and research into the BBC production documentation, this essay explains how the circumstances and conditions of 1960s television adaptation and the star casting of Sir Ralph Richardson transformed Priestley's stage play. The TV adaptation achieved cosmic effects on an intimate scale, through inference and the imaginative integration of the studio space with dubbed sound.

Haptic interfaces: the live and the recorded body in Beckett's Eh Joe on stage and screen

Beckett’s sparse and minimalist pieces have continuously addressed the nature and characteristics of the media for which they were written. What does it mean when a work written specifically for television is transposed to the stage, as film director Atom Egoyan did in his 2006 version of Beckett’s Eh Joe? This article will focus on the implications of such a transposition and discuss how Egoyan’s version reveals the haptic interface present in the original piece, between body and technology, between the flesh and “spirit made light” of the electronic broadcast.

Validation of the NANA (Novel Assessment of Nutrition and Ageing) touch screen system for use at home by older adults

Prospective measurement of nutrition, cognition, and physical activity in later life would facilitate early detection of detrimental change and early intervention but is hard to achieve in community settings. Technology can simplify the task and facilitate daily data collection. The Novel Assessment of Nutrition and Ageing (NANA) toolkit was developed to provide a holistic picture of an individual's function including diet, cognition and activity levels. This study aimed to validate the NANA toolkit for data collection in the community. Forty participants aged 65 years and over trialled the NANA toolkit in their homes for three 7-day periods at four-week intervals. Data collected using the NANA toolkit were compared with standard measures of diet (four-day food diary), cognitive ability (processing speed) and physical activity (self-report). Bland–Altman analysis of dietary intake (energy, carbohydrates, protein fat) found a good relationship with the food diary and cognitive processing speed and physical activity (hours) were significantly correlated with their standard counterparts. The NANA toolkit enables daily reporting of data that would otherwise be collected sporadically while reducing demands on participants; older adults can complete the daily reporting at home without a researcher being present; and it enables prospective investigation of several domains at once

Buried screen-printed contacts for silicon solar cells

A Simple way to improve solar cell efficiency is to enhance the absorption of light and reduce the shading losses. One of the main objectives for the photovoltaic roadmap is the reduction of metalized area on the front side of solar cell by fin lines. Industrial solar cell production uses screen-printing of metal pastes with a limit in line width of 70-80 μm. This paper will show a combination of the technique of laser grooved buried contact (LGBC) and Screen-printing is able to improve in fine lines and higher aspect ratio. Laser grooving is a technique to bury the contact into the surface of silicon wafer. Metallization is normally done with electroless or electrolytic plating method, which a high cost. To decrease the relative cost, more complex manufacturing process was needed, therefore in this project the standard process of buried contact solar cells has been optimized in order to gain a laser grooved buried contact solar cell concept with less processing steps. The laser scribing process is set at the first step on raw mono-crystalline silicon wafer. And then the texturing etch; phosphorus diffusion and SiNx passivation process was needed once. While simultaneously optimizing the laser scribing process did to get better results on screen-printing process with fewer difficulties to fill the laser groove. This project has been done to make the whole production of buried contact solar cell with fewer steps and could present a cost effective opportunity to solar cell industries.

Validity and responsiveness of at-home touch-screen assessments in advanced Parkinson's disease

The aim of this study was to investigate if a telemetry test battery can be used to measure effects of Parkinson’s disease (PD) treatment intervention and disease progression in patients with fluctuations. Sixty-five patients diagnosed with advanced PD were recruited in an open longitudinal 36-month study; 35 treated with levodopa-carbidopa intestinal gel (LCIG) and 30 were candidates for switching from oral PD treatment to LCIG. They utilized a test battery, consisting of self-assessments of symptoms and fine motor tests (tapping and spiral drawings), four times per day in their homes during week-long test periods. The repeated measurements were summarized into an overall test score (OTS) to represent the global condition of the patient during a test period. Clinical assessments included ratings on Unified PD Rating Scale (UPDRS) and 39-item PD Questionnaire (PDQ-39) scales. In LCIG-naïve patients, mean OTS compared to baseline was significantly improved from the first test period on LCIG treatment until month 24. In LCIG-non-naïve patients, there were no significant changes in mean OTS until month 36. The OTS correlated adequately with total UPDRS (rho = 0.59) and total PDQ-39 (0.59). Responsiveness measured as effect size was 0.696 and 0.536 for OTS and UPDRS respectively. The trends of the test scores were similar to the trends of clinical rating scores but dropout rate was high. Correlations between OTS and clinical rating scales were adequate indicating that the test battery contains important elements of the information of well-established scales. The responsiveness and reproducibility were better for OTS than for total UPDRS.

Obtenção e caracterização de filmes SnO2 depositados em vidro borosilicato por silk-screen modificado: SnCl2.2H2O como precursor

O presente trabalho tem como objetivo investigar as características de filmes de SnO2 depositados em substrato de vidro borosilicato por um processo de silk-screen modificado para obtenção de espessura fina compatível com a aplicação em células solares policristalinas de baixo custo. O filme de SnO2 é um dos mais apropriados para obtenção de vidro TCO (transparent conductive oxide) para uso em células solares devido a sua baixa resistividade elétrica e alta transmitância, sendo quimicamente inerte, mecanicamente duro e tem resistência a altas temperaturas, o que facilita então a calcinação das amostras entre 500º C a 550º C. Os filmes foram obtidos a partir de uma solução precursora básica, preparada pela dissolução de SnCl2.2H2O em Etanol (99,5 %). Foi realizado um planejamento fatorial 2(3-1) para analisar a influência dos parâmetros concentração da solução precursora (CETN), temperatura de calcinação (TC) e taxa de aquecimento (tX) na calcinação, sendo a concentração CETN o parâmetro que apresentou maior efeito sobre os parâmetros de respostas investigados: espessura do filme (ω), resistividade de superfície (ρ) e a transmitância relativa (θ). Foi possível obter com a metodologia utilizada, filmes com espessuras da ordem de 1 Nm com resistividade de superfície de 10 / e transmitância relativa entre 70 e 80 %.