Surgical Theatre, Gifted Performances: The Changing Moral Economy of Surgical Training

Fred Hollows and his work to reduce blindness in Indigenous communities is an obvious example of benevolence of doctors and nurses towards patients while the role of the staff of burns units around Australia in treating the victims of the Bali bombing is another. Some different stories about benevolence in medicine, concerning the benevolence of patients towards trainee clinical staff are suggested.

From Zheng Qiang to Jiang Shuiying: The feminization of a revolutionary hero in Maoist theatre's 'Song of the Dragon River'

Since the 1980s, analysis of the representation of women in Maoist theatre has argued that the heroines of the Cultural Revolution model works (yangbanxi) were 'gender-less revolutionaries erased of anything feminine. This article challenges such a view through a case study of Song of the Dragon River in which the male hero of the 1964 spoken drama version was changed to a female in the 1972 yangbanxi adaptation. Evidence is presented that the characterization of the heroine in the latter work conforms closely not only with traditional beliefs in innate female characteristics but also with current Chinese beliefs in the characteristics of successful women in leadership. Rosemary Roberts is a lecturer in Chinese at the University of Queensland, Australia. She completed postgraduate studies at Beijing University in the early 1980s and has a PhD in Chinese literature from the Australian National University. She has published numerous articles and translations in the field of Chinese literature and culture and is currently writing a book on gender in Maoist theatre of the Cultural Revolution.

Inside ‘Inside View’: reflections on stimulating debate and engagement through a multimedia live theatre production on the dilemmas and issues of pre-natal screening policy and practice

Background The role of applied theatre in engaging both lay and professional publics with debate on health policy and practice is an emergent field. This paper discusses the development, production performance and discussion of ‘Inside View’.1 Objectives The objectives were to produce applied theatre from research findings of a completed study on genetic prenatal screening, exploring the dilemmas for women and health professionals of prenatal genetic screening, and to engage audiences in debate and reflection on the dilemmas of prenatal genetic screening. Methods ‘Inside View’ was developed from a multidisciplinary research study through identification of emergent themes from qualitative interviews, and development of these by the writer, theatre producer and media technologist with input from the researchers. Findings Inside View was performed in London and the Midlands to varied audiences with a panel discussion and evaluation post performance. The audiences were engaged in debate that was relevant to them professionally and personally. Knowledge translation through applied theatre is an effective tool for engaging the public but the impact subsequently is unclear. There are ethical issues of unexpected disclosure during discussion post performance and the process of transforming research findings into applied theatre requires time and trust within the multidisciplinary team as well as adequate resourcing.

Interactive Multimedia Solutions Developed for the Opening of the New Stage of the Alexandrinsky Theatre

This paper focuses on teamwork by the National Research University of Information Technologies, Mechanics and Optics (NRU ITMO) and the Aleksandrinsky Theatre in preparation of opening of the New Stage of the Alexandrinsky Theatre. The Russian State Pushkin Academy Drama Theatre, also known as the Alexandrinsky Theatre, is the oldest national theatre in Russia. Many famous Russian actors performed on the Alexandrinsky’s stage and many great directors. May 2013 marked the opening of the New Stage of the Alexandrinsky Theatre. The theatre complex comprises three buildings: the new stages building, a media center, and the building housing a center of theatre education. Several plays shown simultaneously on multiple stages within the new complex’s buildings constituted the opening gala of the New Stage of the Alexandrinsky Theatre. The works of Fyodor Dostoyevsky were the plays’ unifying theme. NRU ITMO employees developed several interactive theatre project solutions implemented for the opening of the Alexandrinsky Theatre’s New Stage.

Open innovation in the performing arts. Examples from contemporary dance and theatre production

Scholarship on open innovation examines the different shades of opening up the innovation process of firms, where the most important feature is sourcing in knowledge. In this paper I examine the implications of adapting open innovation frames to a field where it was not investigated before: performing arts (contemporary dance and theatre). I draw on case studies and demonstrate that open innovation strategies are viable for artistic production. Independent companies purposefully mining out external knowledge in production, and commercializing on the spillovers of their body of knowledge, put themselves on the shelf of firms adopting and adapting to open innovation.

Luís da Câmara Cascudo prefaciador

Presenting a reading of prefaces written by Luís da Câmara Cascudo, related to literary and non-literary books from the early 20TH century (1921-1984), is the goal of this thesis. Considering the word in its meaning: "Latin praefatio, the action of speaking in the commencement. Synonym for 'prologue ', in the sense of text that precedes or introduces a work" (MOISÉS, 1999, p.416). In this research, a preface is understood as the text written and published with the intent to provide information to facilitate reading and/or understanding of the work to which it refers, regardless it is set at initial pages, when it is named as „prolog‟, „letter to the reader‟, „proem‟, „prelude‟, „preamble, forewords, summary, etc., or when only appears in the last pages of the book and turns to be named as „afterword‟. It is a qualitative research, with a bibliographic and interpretive feature, considering that part of the analysis of texts employs the inductive method, focuses on the depth of understanding that the researcher has on the researched object. For the study of this genre we recourse to Sales (2003), Teles (1986; 1989; 2010), Clemente (1986) and Candido (2005); as for the notion of tradition, we resort to Eliot (1997) and Candido (1997; 1980). The set of prefaces is a wide material for research that will allow scholars of Brazilian culture to continue work started by Luís da Câmara Cascudo, still in 1921, when he started his career as a prefacer.

Luís da Câmara Cascudo prefaciador

Presenting a reading of prefaces written by Luís da Câmara Cascudo, related to literary and non-literary books from the early 20TH century (1921-1984), is the goal of this thesis. Considering the word in its meaning: "Latin praefatio, the action of speaking in the commencement. Synonym for 'prologue ', in the sense of text that precedes or introduces a work" (MOISÉS, 1999, p.416). In this research, a preface is understood as the text written and published with the intent to provide information to facilitate reading and/or understanding of the work to which it refers, regardless it is set at initial pages, when it is named as „prolog‟, „letter to the reader‟, „proem‟, „prelude‟, „preamble, forewords, summary, etc., or when only appears in the last pages of the book and turns to be named as „afterword‟. It is a qualitative research, with a bibliographic and interpretive feature, considering that part of the analysis of texts employs the inductive method, focuses on the depth of understanding that the researcher has on the researched object. For the study of this genre we recourse to Sales (2003), Teles (1986; 1989; 2010), Clemente (1986) and Candido (2005); as for the notion of tradition, we resort to Eliot (1997) and Candido (1997; 1980). The set of prefaces is a wide material for research that will allow scholars of Brazilian culture to continue work started by Luís da Câmara Cascudo, still in 1921, when he started his career as a prefacer.

Performing "Up The Shore": a stylistic analysis of Newfoundland Irish English vowels in the Ferryland dinner theatre

This study is a variationist sociolinguistic analysis of two speech styles, performance and interview, of a dinner theatre troupe in Ferryland on the Southern Shore of Newfoundland. Five actors and ten of their characters are analyzed to test if their vowels change across styles. The study adopts a variationist framework with a Community of Practice model, drawing on Bell’s audience and referee design to argue that the performers’ stage conventions and identity construction are influenced by a third person referee: the Idealized Authentic Newfoundlander (IAN). Under this view the goal of the performer is to both communicate with and entertain the audience, which requires different tactics when speaking. These tactics manifest phonetically and are discussed in a quantitative, statistical analysis of the acoustic measurements of the vowel tokens [variables FACE, KIT, LOT/PALM and GOAT lexical sets with Newfoundland Irish English (NIE) variants] and a qualitative discussion.