Do vesicle cells of the red alga Asparagopsis (Falkenbergia stage) play a role in bromocarbon production?

The Rhodophyceae (red algae) are an established source of volatile halocarbons in the marine environment. Some species in the Bonnemaisoniaceae have been reported to contain large amounts of halogens in structures referred to as vesicle cells, suggesting involvement of these specialised cells in the production of halocarbons. We have investigated the role of vesicle cells in the accumulation and metabolism of bromide in an isolate of the red macroalga Asparagopsis (Falkenbergia stage), a species known to release bromocarbons. Studies of laboratory-cultivated alga, using light microscopy, revealed a requirement of bromide for both the maintenance and formation of vesicle cells. Incubation of the alga in culture media with bromide concentrations below 64 mg l-1 (the concentration of Br- in seawater) resulted in a decrease in the proportion of vesicle cells to pericentral cells. The abundance of vesicle cells was correlated with bromide concentration below this level. Induction of vesicle cell formation in cultures of Falkenbergia occurred at concentrations as low as 8 mg l-1, with the abundance of vesicle cells increasing with bromide concentration up to around 100 mg l-1. Further studies revealed a positive correlation between the abundance of vesicle cells and dibromomethane and bromoform production. Interestingly, however, whilst dibromomethane production was stimulated by the presence of bromide in the culture media, bromoform release remained unaffected suggesting that the two compounds are formed by different mechanisms.

The Virgin Father (Revival of 2009 production):The Virgin Father: A Stage Play (Revival of 2009 production)

A stage play touring Cushendall, Down Arts Centre, The Playhouse Derry/Londonderry, with a further one-week run at the Lyric Theatre, Belfast.

The Terrible meek; a one-act stage play for three voices: to be played in darkness,

Mode of access: Internet.

The necessary evil; a one-act stage play for four persons:

Mode of access: Internet.

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.

All fours

A short stage play in the absurdist tradition. It was published by the Universidad Autónoma de Madrid, Universidad Nacional Autónoma de México and the University of North Carolina-Chapel Hill in "Movimiento Paroxista Revista Literatura" 1(1), 2011, pp. 17-25.

Wiener Welttheater : Buehnenwerk in einem Vorspiel, sieben Bilden, sechs Zwischenspielen und einem Nachspiel.

Second version of a stage play about life in Vienna around the time of the Turkish siege of Vienna, 1683.

Surface morphology of ion-beam deposited carbon films under high temperature

Carbon films with an open-ended structure were obtained by mass-selected ion-beam deposition technique at 800degreesC. Raman spectra show that these films are mainly sp(2)-bonded. In our case, threshold ion energy of 140 eV was found for the formation of such surface morphology. High deposition temperature and ion-beam current density are also responsible for the growth of this structure. Additionally, the growth mechanism of the carbon films is discussed in this article. It was found that the ions sputtered pits on the substrate in the initial stage play a key role in the tubular surface morphology. (C) 2002 American Vacuum Society.

The Civilisation Game

A full-length stage play

The Sign of the Whale

A two-act stage play performed in Belfast's Opera House with a subsequent Irish tour. In a parable about how to remember the past, Dermy, a journalist in 1977 Belfast, is neurotically compelled to remember every victim of the Troubles. But when a whale sails into Belfast Lough, his life is changed. But is it a miracle or a mirage?

Get Gaddafi

An experimental short stage play responding to unfolding international events. It was presented by Tinderbox Theatre Company as part of a drama festival, 'Pick n Mix'

Unhome

A stage play about the experience of mental illness

Monsters, Dinosaurs, Ghosts

A stage play for the Abbey Theatre, Dublin 4-27 June 2015