Search results for: the theatre of the absurd

Authors: Papazafeiropoulou Olga

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The “Athens Dramatic Company” was one of the longest-running and most widely traveled troupes in the history of modern Greek theatre. The theatre company had been established since 1887, and the following: Euthychios Vonaseras, Eleni Kotopoulis, etc., like the founder of the troupe Theodoros Pofantis, referred to the distribution of the works presented in Patras: The price of a crime, The niece of her uncle, Agathopoulos, Amphitryon, The Two Sergeants, Lawyer and Actors, The Crusaders, The Daughter of Pantopolos, He Will Kill Himself, Macbeth, The Two Orphans, The Auction, Pistis Hope and Mercy, Love Attempt, The Crusaders, The lady is in Loutra, Markos Votsaris. In 1921, after peregrinations in Cyprus, Constantinople, Romania, Crete, Thessaloniki, Volos, Smyrna, the “Athens Dramatic Company” toured in Africa, where the Greek communities flourished. In 1923, the collaborations of troupe’s members and the repertoire varied several times, such as in Johannesburg, from where they traveled via Cape Town to Australia, where they presented the works: Dikaioma o Eros, Enochos, Psychokori, Kolokotronis. Atimoi, Voskopoula, Golfo, etc., while they impressed with the tragedy Oedipus Tyrannus, which was watched by Australians. Alongside the “Athens Dramatic Company” was also touring “Vrysoula’s Pantopoulos Troupe” and most of the members of the two troupes went to America, uniting their formation. In 1927, the old leader of “Athens Dramatic Company” (Theodoros Pofantis) decided to re-establish his troupe, but after unpleasant adventures, he passed away. In the year 1934, the Greek Dramatic Troupe of Athens revived with works including: The Man of the Day, A Dying Heart, A Dream Was and Gone, An Inspection, The Two Sergeants, The Mother, the Father-in-Law and the Non-existent Son-in-law, before finally expiring in 1935, after nearly 40 years of historical passage.

Keywords: athens, dramatic, company, universal, troupe

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Authors: Ayeshmanthe Rathnayake, Siew Goh, Carmel Fenton, Ashutosh Hardikar

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Post-Operative Atrial Fibrillation (POAF) is the most frequent complication of cardiac surgery and is associated with reduced survival, increased rates of cognitive changes and cerebrovascular accident, heart failure, renal dysfunction, infection and length of stay, and hospital costs. Cardiac tamponade, although less common, carries high morbidity and mortality. Shed mediastinal blood in the pericardial space is a major source of intrapericardial oxidative stress and inflammation that triggers POAF. The utilisation of a left posterior pericardiotomy aims to shunt blood from the pericardium into the pleural space and have a role in the prevention of POAF as well as cardiac tamponade. 2118 patients had undergone isolated Coronary Artery Bypass Graft (CABG) at Royal Hobart Hospital from 2008-2021. They were divided into pericardiotomy vs control group. Patient baseline demographics, intraoperative data, and post-operative outcomes were reviewed retrospectively. Total incidence of new POAF and cardiac tamponade was 26.1% and 0.75%, respectively. Primary outcome of both the incidence of POAF(22.9% vs27.8%OR 0.77 p<0.05) and Cardiac Tamponade (0% vs 1.1% OR 0.85 p<0.05) were less in the pericardiotomy group.Increasing age, BMI, poor left ventricular function (EF <30%), and return to theatre were independent predictors of developing POAF. There were similar rates of return to theatre for bleeding however, no cases of tamponade in the pericardiotomy group. There were no complications attributable to left posterior pericardiotomy and the time added to the duration of surgery was minimal. Left posterior pericardiotomy is associated with a significant reduction in the incidence of POAFand cardiac tamponade and issafe and efficient.

Keywords: cardiac surgery, pericardiotomy, post-operative atrial fibrillation, cardiac tamponade

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Authors: Kailash Pattanaik, Giribala Mohanty

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Dhanujatra is a folk performance of ODISHA, India, that transports the participants, on lookers and all alike into a mythical atmosphere for eleven days and nights as well. In this performance the whole town becomes stage. The uniqueness of the festival lies in the fact that all the episodes of this Jatra enacted in different parts of the town making it the largest open air theatre in the world. The paper would emphasize on the uniqueness and the impact of this performance.Different episodes are enacted at different places in the regime. So, Dhanujatra does not confine itself to a fixed static or dead stage, as in case of other Jatra’s; it rather becomes the stage for the world at large. For that, it is said that, Worlds biggest open air theatre held in the tiny town called Bargarh in the western part of Orissa. The play moves sequentially day after day and the audience moves from locale to locale. Here it is analogues to the Ramleela of Ramnagar of Benars. Parallal enactment is a significant feature of this Jatra. From the second day, parallal performances take place in both Bargarh town and Ambapalli epitomising ‘Mathura’ and ‘Gokul’ respectively. Krishna is born in the prison on the second day of the jatra. Basudeb exchanges the child with the Nanda’s newborn baby in Gokul. In this way, parallal performances go on both in Mathura and Gokul. The ordinary persons who act as the mythological characters, or become historical heroes or the legendary Saints or Bhaktas in a Jatra in the evening, lead the lives of ordinary persons during day time. The dramatic personas of those individuals are shed with the end of the Jatra. On the contrary, the persons who act as the main characters of Dhanujatra are exceptions in this regard. They are identified as the characters they enact for the whole period of performance, both in the evenings and during daytime. It is worth mentioning that generally in the folk performances there is an ample scope to touch upon or interpret or comment or satirize the issues of contemporary relevance with the sole purpose to convey some specific message. Dhanujatra is no exception to that.

Keywords: folk performance, Jatra, parallel enactment, open-air stage, Odisha

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Authors: Renukha Devi Anandan

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Charles Forsman’s The End of The Fxxxing World, I Am Not Okay With This, and Slasher invariably deals with existential themes. They reflect the perplexed situation of the characters torn between the search for existence and the constraints of human conditions that impede them from such realization, ensuing a dilemma deeply-rooted in absurdity and alienation. These characters are social misfits who fail to fashion their existence and develop harmoniously. Therefore, the present paper adopts an Existential approach to examine the vignettes of alienation and absurdity vis-à-vis the characters’ speech, actions, and thoughts. Furthermore, this paper explores the role of death either as a self-destructive behavior or the eternal freedom of man in graphic novels. Findings portrayed how the characters’ absurd existence surrounded by the void, would eventually develop into death. Finally, the study revealed that Forsman’s distinctive serial illustration not only unveiled the predicaments of the characters through their hard-boiled smokescreens in the 21st-century social paradigm but also established graphic novels as part and parcel of a literary genre.

Keywords: existentialism, absurdity, alienation, death, self-destruction, eternal freedom

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Authors: İlahe Hajiyeva Mesim

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The term "Azerbaijani decadent literature" that dates back to the 70s of the 20th century emerged due to the frustration of the people's wishes concerning egalitarian society and bright future pledged by Soviet Russia. The decadent mood - despair, loneliness, stagnation born of this delusion became the major theme of Azerbaijani literature. One of the zealous promulgators of the philosophy of decadence in Azerbaijani literature, so to speak, the founder of "Azerbaijani decadent literature" appeared to be Vagif Samadoglu known as a poet, playwright, essayist whose poems reflecting his decadent mood and motifs have become the scope of research in this paper. In his poems, the poet depicts realities with unusual metaphors, symbols and similes, giving them new breath. Vagif Samadoglu's poetry is particularly based on absurd situations of life. The figurative language and non-traditional forms of expression of associative thinking unique to the poet distinguish him from his other counterparts. A different view of reality and special approach to objects had enabled Vagif Samadoglu to occupy a leading place among modernist writers. The key purpose of the article is to reveal similar properties of decadent character in Vagif Samadoglu's poetry.

Keywords: Azerbaijan decadent literature, Vagif Samadoglu, poetry, modernism

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Authors: Azadeh Abbasikangevari

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Background and Objectives: Theatre and performance are two separate themes. What is presented in Iran as a performance is the species and ritual and traditional forms of the play. The Iranian performance has its roots in myth and ritual. Drama is essentially a Western phenomenon that has gradually entered Iran and influenced Iranian performance. A theatre is based on antagonism (axis) and protagonism (anti-axis), while performance has a monotonous and steady motion. The elements of Iranian performance include field, performance on the stage, and magnification in performance, all of which are based on narration. This type of narration has been present in Iranian modern drama. The objective of this study was to analyze the drama structure according to narration elements by a comparison between the Western theater and the Iranian performance and determining the structural differences in the type of narrative. Materials and Methods: In this study, the elements of the drama were analyzed using the library method among the available library resources. The review of the literature included research articles and textbooks which focused on Iranian plays, as well as books and articles which encompassed narrative and drama element. Data were analyzed in the comparative-descriptive method. Results: Examining and studying different kinds of Iranian performances, showed that the narrative has always been a characteristic feature of Iranian plays. Iranians have narrated the stories and myths and have had a particular skill of oral literature. Over time, they slowly introduced narrative culture into their art, where this element is the most important structural element in Iran's dramatic art. Considering the fact that narration in Iranian traditional play, such as Ta'ziyeh and Naghali, was oral and consequently, it was slowly forgotten and excluded from written theatrical texts. Since the drama has entered in its western form in Iran, the plays written by the authors were influenced by narrative elements existing in western plays. Conclusions: The narrative’s element has undoubtedly had an impact on modern Iranian drama and Iranian contemporary drama. Therefore, the element of narration is an integral part of the Iranian traditional play structure.

Keywords: drama methodology, Iranian performance, Iranian modern drama, narration

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Authors: Miguel Angel Calvo Salve

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Building enclosures and façades not only have an aesthetic component they must also ensure thermal comfort and improve the acoustics and air quality in buildings. The role of facades design, its assemblies, and construction are key in developing a greener future in architecture. This research and study focus on the design of a multi-leaves building envelope, with a self-supporting wall of granite slabs. The study will demonstrate the advantages of its use in compare with the hanging stone veneer in a vented cladding system. Using the Design of the School of Music and Theatre of the Atlantic Area in Spain as a case study where the multi-leaves enclosure system consists in a self-supported outer leaf of large granite slabs of 15cm. of thickness, a vent cavity with thermal isolation, a brick wall, and a series of internal layers. The methodology used were simulations and data collected in building. The advantages of the self-supporting wall of granite slabs in the outer leaf (15cm). compared with a hanging stone veneer in a vented cladding system can summarize the goals as follows: Using the stone in more natural way, by compression. The weight of the stone slabs goes directly to a strip-footing and don't overload the reinforced concrete structure of the building. The weight of the stone slabs provides an external aerial soundproofing, preventing the sound transmission to the structure. The thickness of the stone slabs is enough to provide the external waterproofing of the building envelope. The self-supporting system with minimum anchorages allows having a continuous and external thermal isolation without thermal bridges. The thickness of ashlars masonry provides a thermal inertia that balances the temperatures between day and night in the external thermal insulation layer. The absence of open joints gives the quality of a continuous envelope transmitting the sensations of the stone, the heaviness in the facade, the rhythm of the music and the sequence of the theatre. The main cost of stone due his bigger thickness is more than compensated with the reduction in assembly costs. Don´t need any substructure systems for hanging stone veneers.

Keywords: self-supporting wall, stone cladding systems, hanging veneer cladding systems, sustainability of facade systems

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Authors: Păcurar Diana Istina

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The indissoluble link between aesthetics and semiotics, the harmonization and semiotic understanding of the interactions between the viewer and the object being looked at, are the basis of the practical demonstration of the importance of aesthetic perception within the theater performance. The design of a theater performance includes several structures, some considered from the beginning, art forms (i.e., the text), others being represented by simple, common objects (e.g., scenographic elements), which, if reunited, can trigger a certain aesthetic perception. The audience is delivered, by the team involved in the performance, a series of auditory and visual signs with which they interact. It is necessary to explain some notions about the physiological support of the transformation of different types of stimuli at the level of the cerebral hemispheres. The cortex considered the superior integration center of extransecal and entanged stimuli, permanently processes the information received, but even if it is delivered at a constant rate, the generated response is individualized and is conditioned by a number of factors. Each changing situation represents a new opportunity for the viewer to cope with, developing feelings of different intensities that influence the generation of meanings and, therefore, the management of interactions. In this sense, aesthetic perception depends on the detection of the “correctness” of signs, the forms of which are associated with an aesthetic property. Fairness and aesthetic properties can have positive or negative values. Evaluating the emotions that generate judgment and implicitly aesthetic perception, whether we refer to visual emotions or auditory emotions, involves the integration of three areas of interest: Valence, arousal and context control. In this context, superior human cognitive processes, memory, interpretation, learning, attribution of meanings, etc., help trigger the mechanism of anticipation and, no less important, the identification of error. This ability to locate a short circuit produced in a series of successive events is fundamental in the process of forming an aesthetic perception. Our main purpose in this research is to investigate the possible conditions under which aesthetic perception and its minimum content are generated by all these structures and, in particular, by interactions with forms that are not commonly considered aesthetic forms. In order to demonstrate the quantitative and qualitative importance of the categories of signs used to construct a code for reading a certain message, but also to emphasize the importance of the order of using these indices, we have structured a mathematical analysis that has at its core the analysis of the percentage of signs used in a theater performance.

Keywords: semiology, aesthetics, theatre semiotics, theatre performance, structure, aesthetic perception

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Authors: Luminiţa Duţică, Gheorghe Duţică

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Many of the interrogations or dilemmas of the contemporary world found the answer in what was generically called the appeal to matrix. This genuine spiritual exercise of re-connection of the present to origins, to the primary source, revealed the ontological condition of timelessness, ahistorical, immutable (epi)phenomena, of those pure essences concentrated in the archetypal-referential layer of the human existence. The musical creation was no exception to this trend, the impasse generated by the deterministic excesses of the whole serialism or, conversely, by some questionable results of the extreme indeterminism proper to the avant-garde movements, stimulating the orientation of many composers to rediscover a universal grammar, as an emanation of a new ‘collective’ order (reverse of the utopian individualism). In this context, the music of oral tradition and therefore the world of the ancient modes represented a true revelation for the composers of the twentieth century, who were suddenly in front of some unsuspected (re)sources, with a major impact on all levels of edification of the musical work: morphology, syntax, timbrality, semantics etc. For the contemporary Romanian creators, the music of rituals, existing in the local archaic culture, opened unsuspected perspectives for which it meant to be a synthetic, inclusive and recoverer vision, where the primary (archetypal) genuine elements merge with the latest achievements of language of the European composers. Thus, anchored in a strong and genuine modal source, the compositions analysed in this paper evoke, in a manner as modern as possible, the atmosphere of some ancestral rituals such as: the invocation of rain during the drought (Paparudele, Scaloianul), funeral ceremony (Bocetul), traditions specific to the winter holidays and new year (Colinda, Cântecul de stea, Sorcova, Folklore traditional dances) etc. The reactivity of those rituals in the sound context of the twentieth century meant potentiating or resizing the archaic spirit of the primordial symbolic entities, in terms of some complexity levels generated by the technique of harmonies of chordal layers, of complex aggregates (gravitational or non-gravitational, geometric), of the mixture polyphonies and with global effect (group, mass), by the technique of heterophony, of texture and cluster, leading to the implementation of some processes of collective improvisation and instrumental theatre.

Keywords: archetype, improvisation, polyphony, ritual, instrumental theatre

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Authors: Rajendra Kumar Kanojia

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Background; Massive bone gaps are common following road side accidents and injury to the tibia, specially open grade three fractures. It has been seen that the diaphyseal fractures in the tibia are prone to non-union, there are certain reasons known very well, like less soft tissues around the lower third tibia, less vascularity, less options of fixation of the fractures after trauma and prolonged surgical time, operation theatre time and special surgical means. Aim of study; To know the suitability of the ilizarov ring fixators in staged treatment of the fracture of the both bones leg, including tibia, we wish to see the role of ilizarov in management of open grade three fractures which have been operated and debrided, for getting the length use of ilizaorv ring in a tertiary canter is the aim of the study.

Keywords: open fracture, staged management, ilizarov, bone grafting, lengthening

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Authors: Ndje Ndje Mireille

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For some years in Cameroon, there has been an increase in violence in schools. This violence has gone from verbal to physical, sometimes going as far as murder. At the centre of this violence, we find the student who is a teenager in the midst of both physical and psychological changes. The unpredictable transformations of his body, the unexpected emotions arrouse when he encouters someonelse, intrusion, shortcomings, boredom, loneliness and self-deception are the threats to which the teenager faces daily. From the psychopathological point of view, the greatest threat in adolesence is probably the depresive threat. During adolescence and for several resons, the subject is confronted with the self image. He displays certantity which sometimes hides great uncertaintity about what leads him to manifest some particular behaviours or undertake certain actions. Faced with aggressiveness twards those he confronts, he feels more or less guilt. This can lead a certain number of adolescents to feel heplessness faced to their vis-à-vis, faced to life. This helplessness is sometimes reinforced by the social, cultural and economic context in which they are. The teeneger then feels threatens by this depression which, when it reaches its extreme, it is manifested by the feeling that he can no longer do anything. Generally, the depressive threats manifest itself in defensive forms vis-à-vis with the depression itself. Reason why, it is indeed a threat and not a threshold already crossed. This threat often manifests itself in inappropriate forms of attack on one’s own body as seen in a number of repetitive risky behaviours. We also see teenegers confront peers and even adults through physical attacks and often go as far as murder. All these behaviours appears as an absurd way of attacking and at the same time confronting the feeling of remaining alive. This depressive threats can also be expressed in forms of attacks on an individual’s thinking abilities or more explicitely in the form of accademic downfall. The depressive threats does not sum up all the problems of adolescence, but, undoubtly represents currently, one of the deepest form of unease adolescents face.

Keywords: violence, school, depression threats, adolescent, behavior

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Authors: Mustafa Gultekin

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It is believed that drama can be used in language classes to create a positive atmosphere for students to use the target language in an interactive way. Thus, drama has been extensively used in many settings in language classes. Although happening has been generally used as a performance art of theatre, this new kind of performance has not been widely known in language teaching area. Therefore, it can be an innovative idea to use happening in language classes, and thus a positive environment can be created for students to use the language in an interactive way. Happening can be defined as an art performance that puts emphasis on interaction in an audience. Because of its interactive feature, happening can also be used in language classes to motivate students to use the language in an interactive environment. The present study aims to explain how a happening performance can be applied to a learning environment to teach vocabulary in English. In line with this purpose, a learning environment was designed for a vocabulary presentation lesson. At the end of the performance, students were asked to compare the traditional way of teaching and happening performance in terms of effectiveness. It was found that happening performance provided the students with a more creative and interactive environment to use the language. Therefore, happening can be used in language classrooms as an innovative tool for education.

Keywords: English, happening, language learning, vocabulary teaching

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Authors: Anne Lehner, Mostafa Salari Rad, Jeremy Ginges

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Many of life’s privileges (and burdens) are thrust on us at birth. Someone born white or male in the United States is also born with a set of advantages over someone born non-white or female. One aspect of privileges conferred by birth is that they are so entrenched in social institutions and social norms that until they are robustly challenged, they can be seen as a moral good. While American society increasingly confronts privileges based on gender and race, other types of privileges, like one's nationality, see less attention. The nationality one is born into can have enormous effects on one’s personal life, work opportunities, and health outcomes. Yet, we predicted that although most Americans would regard it as absurd to think that white people have a right to protect their privileges and 'way of life', they would regard it as obvious that Americans have a right to protect the American way of life and associated privileges. In a preregistered study we presented 300 Americans randomly with one out of three 'privilege scales' in order to assess their agreement with certain statements. The domains for the privilege scales were nationality, race, and gender. Next, all participants completed the switched-at-birth task assessing ones tendency to essentialize nationality. We found that Americans are more approving of privilege based on nationality than of privilege based on gender and race. In addition, we found an interaction of condition with ideology, showing that conservatives are in general more approving of the privilege of any kind than liberals are, and they especially approve of privilege based on nationality. For the switched-at-birth task, we found that both, liberals as well as conservatives are equally willing to grant the child 100% American nationality. Whether or not one chose 100% is unrelated to the expressed approval of privilege based on nationality. One might hesitate to fully grant the child 100% American nationality in the task, yet disapprove of privilege based on nationality. This shows that as much as we see beholders of privilege being oblivious to their statuses within other social categories, like gender or race, we seem to detect the same blindness for the privilege based on nationality. Liberals showing relatively fewer support for privilege based on nationality compared to conservatives still refused to acknowledge the child as having become 100% American and thereby denying the privileges it potentially bestows upon them.

Keywords: thought experiment, anti-immigrant attitudes, privilege of nationality, immigration, moral circles, psychology

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Authors: Sonia Wahengbam, Natasha Elangbam

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Female impersonation has existed through the length of human civilization and the breadth of its cultures. Transvestism and drag queen cultures have created multi-sited spaces where in the shadow of art, one can cross the gender barrier and express one’s hidden identity. This paper will explore a dynamic cultural space that exists in Manipur, a state in the northeastern region of India, where the female impersonators (nupi shabis) of a folk theater (Shumang Leela) are using this traditional and popular art form to claim social acceptance of their homosexual identities through the medium of entertainment. It will highlight how by crossing the gender boundary, this third gender group has carved out a unique socio-economic niche where they have exploited their sexual identities to their advantage. The paper will trace the expanding cultural ‘’borderland’’ of Manipur where there is an increasing sense of ‘becoming’, belonging and sharing” of identities through the interweaving of old and new media. The research will be based on interviews with the nupi shabis, cultural critics and other experts.

Keywords: transvestism, Manipur, female impersonators (nupi shabis), Shumang Leela, gender

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Authors: Ezgi Cetinkaya

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In the psychological literature, there are a few studies that focus on actors' self-perceptions and their social adjustment skills. Therefore the aim of the study was to shed light on the self-concept clarity, sociotrophy, and self-monitoring levels of professional actors. For this purpose, actors and non-actors are compared to their peers. The study was conducted with the participation of 106 actors and 131 non-actors. A descriptive method of research was employed and data was collected through the concept Clarity scale by Campbell et al. (1996), the Pleasing Others and Concern For Disapproval subscales of Sociotrophy and Autonomy scale by Beck et al. (1983), and the Self-Monitoring Scale by Snyder ( 1983). ANOVA and correlation analysis was done by using SPSS. Results showed that there is no significant difference between actors and non-actors at any age in terms of Self Concept Clarity. 25-25 years non-actors were found to have the highest self-concept clarity while the young actors had the lowest. The study didn’t reveal significant differences between the groups in terms of Sociotropy scores. The actor’s sociothropic tendencies weren’t enhanced by the experience. The study demonstrated that 25-35-year-old actors are higher self-monitors than 25-35-year-old non-actors.

Keywords: self-concept, self-monitoring, autonomy, sociotropy, theatre, acting, creativity, identity

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Authors: R. Roznowski

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This paper is an examination of a recent Michigan State University production of the classic musical, Peter Pan. In this production, approved by the licensor, the action was moved to Colonial India transforming the musical’s message to include themes of cultural identity, racism, classism and ultimately inclusion. Major character changes and casting decisions expanded the scope of the musical while still retaining the original book and score. Major changes included reframing the Darlings as British Colonials stationed in India. The Lost Boy’s as mixed race children of British officials and their Indian nannies, the Pirates were a female 'fishing fleet' a group of women sent from England to keep the British soldiers from mixing with the locals and the Michigan State University Bhangra Dance Team played the Indians in the production. Traditional Indian theatrical techniques were also employed in the storytelling. The presentation will cover the key changes to the musical, the rehearsal process, historical accuracy and audience reaction. A final analysis of cultural appropriation versus historical reframing will be examined.

Keywords: directing, history, musical theatre, producing

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Authors: Lucie Hayashi

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This paper offers a view on a different approach towards a dancer´s career in two very dissimilar countries: on one hand Japan, an economic predator at the end of last century, but suffering under economic crisis from the beginning of the new century; and the Czech Republic, a post-communist country, caught up in capitalist fever from the 1990s on the other. The government’s approach towards culture and dance in these two countries not only has a different history and nature, but also presents a different take on the ideal future development in its respective dance scenes. The level of support from the state budget echoes in all the fields of a professional dance career, dance art and the education of the public towards dance. The message of the statistic data is clear: the production of an enormous number of well trained and expensively educated dancers with no jobs for them in Japan, and a lack of good dancers ready to fill state supported theatre companies in the Czech Republic (that gladly employs Japanese dancers). The paradigm leaves a big exclamation mark on the huge influence the policy has on dance in society, and a question mark on the ideal situation.

Keywords: culture policy, dance, education, employment, Czech Republic, Japan

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Authors: Azza Taha Zaki

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The death of tragedy is probably the most distinctive literary controversy of the twentieth century. There is common critical consent that tragedy in the classical sense of the word is no longer possible. Thinkers, philosophers, and critics such as Nietzsche, Durrenmatt, and George Steiner have all agreed that the decline of the genre in the modern age is due to the total lack of a unified world image and the absence of a shared vision in a fragmented and ideologically diversified world. The production of Rosencrantz and Guildenstern are Dead in 1967 marked the rise of the genre of tragi-comedy as a more appropriate reflection of the spirit of the age. At the hands of such great dramatists as Tom Stoppard (1937- ), the revived genre was not used as an extra comic element to give some comic relief to an otherwise tragic text, but it was given a postmodernist touch to serve the interpretation of the dilemma of man in the postmodernist world. This paper will study features of postmodernist tragi-comedy in Rosencrantz and Guildenstern are Dead as one of the most important plays in modern British theatre and investigate Stoppard’s vision of man and life as influenced by postmodernist thought and philosophy.

Keywords: British, drama, postmodernist, Stoppard, tragi-comedy

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Authors: Lucie Litvack, Malaz Elsaddig, Kevin Jones

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There is strong evidence to support the efficacy of the World Health Organization (WHO) Surgical Safety Checklist in improving patient safety; however, its use can be associated with difficulties. This study uses qualitative data collected in Kitovu Healthcare Complex, a rural Ugandan hospital, to identify factors that may influence the use of the checklist in a low-income setting. Potential barriers to and motivators for the hospital’s use of this checklist are identified and explored through observations of current patient safety practices; semi-structured interviews with theatre staff; a focus group with doctors; and trial implementation of the checklist. Barriers identified include the institutional context; knowledge and understanding; patient safety culture; resources and checklist contents. Motivators for correct use include prior knowledge; team attitudes; and a hospital advocate. Challenges are complex and unique to this socioeconomic context. Stepwise change to improve patient safety practices, local champions, whole team training, and checklist modification may assist the implementation and sustainable use of the checklist in an effective way.

Keywords: anaesthesia, patient safety, Uganda, WHO surgical safety checklist

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Authors: Cathryn Robinson, Bernard McKenna, David Rooney

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This paper argues that the application of values-based leadership increasingly challenges leaders in rules-based organisations, particularly in bureaucratic organisations such as the military, public service, police, and emergency services. Leaders are grappling to reconcile how to enact values-based leadership and decision-making when they are bound by rules, policies, and procedures. This interpretive study used a multi-faceted vignette (critical incident) as the basis of an interview with air force officers at three levels: executive, senior, and junior. In this way, practice is forced to intersect with discourse. The findings revealed a shared set of discourse themes (legal; rules; safety and risk; operational practice/theatre discourses), but also clear dialectical tensions. These tensions were evident in executive officers and senior leaders emphasizing rules and information themes, whereas junior officers emphasized decision making, collateral, and situation. These findings reveal discourse and practice incommensurability that could have grave implications in the conduct of war.

Keywords: critical incident, discourse analysis, rules-based, values-based

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Authors: Aycan Gurluyer

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21st-century theatre has been shaped by lots of world-changing forces devastating human psychology and existence. Accepted as the greatest living English playwright, it is post-war British dramatist Edward Bond who uses a late-21st-century apocalyptic landscape as a weapon to question the human existence in his play 'Have I None?'. In this play, he tries to underline the degenerating and destructive effects of the society and environment on a couple whose lives are changed by an unexpected and annoying stranger. As victim of the society and the cultural corruption, the three vulnerable Bondian characters struggle for their expectations to find a place in this fictional world by sacrificing their own lives. Set in the 2077’s world, the play depicts that rigidly formed rules of the system/authority eliminates the existence of humans. According to Bond, the fascist practices of the governments/systems make people paralyzed in any way, so they choose to deny all realities by becoming biological beings or they gather to commit to suicide as troops. Our main aim is to underscore the questioning of the human existence by drawing the socio-political framework of the era, the capitalist system’s dehumanized individuals and their defence to survive, and what reality is in the 21st century, by focusing on Bond’s hallucinatory and tragic vision of the future in 'Have I None?'.

Keywords: Edward Bond, apocalyptic, existence, Have I None?

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Authors: Melody Wong

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Taikoo Green Ribbon is the winning scheme of International Advancing Net Zero ANZ Ideas Competition 2021 and shortlisted as a finalist of top Architectural Award “AJ100 Sustainability Initiative of the Year, 2022, demonstrating city's aspirations to reach carbon neutrality by 2050. The project showcases total design solutions to blend technology and nature to create a futuristic workplace achieving net zero within a decade. The net zero building design featured with extremely low embodied carbon emission (<250 kgCO2/sqm), significant surplus in renewable energy generation (130% of energy consumption) and various carbon capture technology. The project leverages aesthetics, user-experience, sustainability, and technology to develop over 40 design features. Utilizing AI-controlled Smart Envelope system, the possibility of naturally ventilation was maximized to adjust the microclimate to foster behavourial change. The design principle – healthy and collaborative working environment is realized with a landscaped sky-track with kinetic energy pads, natural ventilated open space with edible plants across floors, and 500-seat open-space rooftop theatre to reshape and redefine the new generation of workplaces.

Keywords: NetZero, zero carbon, green, sustainability

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Authors: David Armany, Matthew Allaway, Preet Gosal, Senarath Edirimanne

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A potentially devastating complication of routine laparoscopic cholecystectomy includes iatrogenic bile duct injuries, which represent a stable incidence rate of 0.3% over the past three decades. Whilst related to several relative risks such as surgeon experience and patient factors (older age, male sex), misinterpretation of biliary tree anatomy remains the most common cause, accounting for 80% of iatrogenic Common Bile Duct injuries. Whilst extremely rare, a duplicate common bile duct anomaly remains a potential variation to encounter during biliary surgery, with 30 recognised cases in the worldwide literature, of which type Vb accounts for 4. We report the case of a rare type Vb variation encountered during intra-operative laparoscopic cholecystectomy and confirmed on cholangiogram. To our knowledge, this is the first documented Type Vb case encountered in an Australian population. Given these anomalies are asymptomatic and can perpetuate iatrogenic common bile duct injuries, awareness of all subtypes is crucial. Irrevocably, preoperative Magnetic Resonance Cholangiopancreatography can help recognise these anomalies before the operating theatre; however, their widespread adoption is limited by expensive and availability.

Keywords: duplicated common bile duct, type Vb, cholecystitis, MRCP, cholangiogram, iatrogenic CBD

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Authors: Brian Kristopher Cambra

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Millions of displaced families are seeking refuge in countries that are not their own due to war, violence, persecution, political unrest, and natural disasters. This global crisis is forcing researchers and practitioners to consider how refugees are coping with the trauma associated with their migration process. Effective therapeutic approaches are needed in a global effort to address the traumatic impact of forced migration. This meta-analytical study investigates the effectiveness of expressive therapeutic modalities, including play, art, music, sandplay, theatre, and writing therapies, in helping children and adolescents cope with refugee trauma. Seventeen pre-post and between-group comparison studies were analyzed using a random-effects model. The combined effect size for pre-post comparisons was medium (g = 0.58), whereas the combined effect size for between-group comparisons was small (g = 0.32). Overall, art therapy was found to be most effective in treating stress symptoms. Heterogeneity tests, however, suggest effect sizes cannot be interpreted as meaningful due to substantial variance. Nevertheless, findings of this meta-analysis indicate that expressive therapies may be among beneficial modalities to integrate with other trauma-informed approaches.

Keywords: expressive therapies, forced migration, meta-analysis, refugees, trauma

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Authors: Divya Pathak, James Sloane

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Surgical treatment of midface fractures should ideally occur within two weeks of injury, after which bony healing and consolidation make the repair more difficult for the operating surgeon. The oral and maxillofacial unit at the Royal Surrey Hospital is the tertiary referral center for maxillofacial trauma from five regional hospitals. This is a complete audit cycle of midface trauma referrals managed over a one year period. The standard set was that clinical assessment of the midface fracture would take place in a consultant led outpatient clinic within 7 days, and when indicated, surgical fixation would occur within 10 days of referral. Retrospective data was collected over one year (01/11/2018 - 31/12/2019). Three key changes were implemented: an IT referral mailbox, standardization of an on-call trauma table, and creation of a trauma theatre list. Re-audit was carried out over six months completing the cycle. 283 midface fracture referrals were received, of which 22 patients needed surgical fixation. The average time from referral to outpatient follow-up improved from 14.5 days to 8.3 days, and time from referral to surgery improved from 21.5 days to 11.6 days. Changes implemented in this audit significantly improved patient prioritization to appropriate outpatient clinics and shortened time to surgical intervention.

Keywords: maxillofacial trauma, midface trauma, oral and maxillofacial surgery, surgery fixation

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Authors: Sorin Oancea

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More than half a century after Ivan Sutherland’s seminal essay, ‘The Ultimate Display’ (1965), 3D Virtual Reality is still an emergent and exploratory medium in terms of its narrative potential, production methodology, and market penetration. Traditionally positioned in front of the screen/canvas as a ‘window-on-the-world’, the storyboarder and animation director transcend the medium and its narrative reality entirely while designing a linear cinematic sequence. This paper proposes a gradual transition from the traditional linear sequence design process based on a transcendent position of the storyboarder and animation director to an increasingly immersed one characterized by a sense of unmediated presence and immanence. Employing a quaitative analysis of the current exploratory storyboarding processes for 3D VR, this research uses a practice-based methodology based on producing a short-form 3D VR narrative experience to derive its findings. The original contribution to knowledge is charting an empirically derived conceptual framework for VR storyboarding and animation directing, with the documented reflective and reflexive process as a map for directorial transitioning between converging mediums by articulating the new VR lexical categories and expounding links to allied performative arts, such as film and theatre.

Keywords: storyboarding, immersive, virtual reality, transitioning

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Authors: Ching-Pin Tseng

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Cultural heritages are tangible and intangible catalysts for recollecting collective memories and cultural signification. Through visiting the heritage and with the aid of exhibition and visual indications, the visitor may visually and spatially grasp some fragments of the stories and occurrences of the site. However, there may be some discrepancies between the narration of historical happenings that occurred at the place and the spatial exhibition of the historic monument. Narratives of collective events may not be revealed merely by physical relics or objects. In order to build up a connection between the past and the present, the paper thus intends to discuss what means can engender vitalizations within cultural heritages. As the preservation of cultural heritages has been a universal consensus and common interests, its association with modern lives has also been an important issue. The paper will explore some site-specific theatres held in the art festivals in the south of Taiwan so as to examine the correlation between site-specific performances and the conservation of historic monuments. In the light of Victor Hugo’s argument that the place where events happened before can be silent characters for representing the reality of art and for impressing the spectator, this paper argues that site-specific theatres may bring vitality into tangible cultural heritages. At the end of this paper, the notion of localization will be utilized to examine the spatial setting and the materiality of scenic design in relation to the site-specific theatres within cultural heritages.

Keywords: site-specificity, cultural heritage, localization, materiality

Procedia PDF Downloads 91

Authors: Doki Naomi Onyeje, Doki Gowon Ama

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The past 4 years have been traumatic for Nigerians, having to deal with a number of complex economic issues with dire consequences for the economy. Households have had to respond variously to some of these problems in peculiar ways, depending, of course, on the nature and character of a particular shock. The type, magnitude, intensity and duration of a particular shock might be the determinant of different household responses. While households’ responses to the Global Financial Crisis and Covid 19 Pandemic have been documented by researchers, other economic shocks have continued to emerge in Nigeria. The dramatic turn of events since coming on board of the new government on May 29th 2023, has introduced a new economic twist that households will have to adjust to. This study, therefore, sets out to examine household responses by disaggregating them by their livelihood sources. A survey of 420 households across North Central Nigeria will be done to generate information on the respective responses. A Multinomial logit regression analysis will be employed to test the hypothesis that livelihood source(s) influences household responses to economic shocks. Consequently, responses from public and private households will be examined. The expected results should be that household responses might have some similarities, but it is expected that some peculiar responses across groups will emerge and these differences will guide for group-specific interventions. The Theatre for Development (TfD) approach will be used to disseminate and propagate results from this study to and among stakeholders for effective policy frameworks.

Keywords: drama, dynamics, economic shocks, household responses, Nigeria

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Authors: Fung Chiat Loo, Fung Ying Loo

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This paper discusses, suggests, and constructs a notation system to facilitate the learning and understanding of the two aspects of music and movement in a sports routine. This model serves to provide a simple and logical notation that does not require training in both music and choreography. Notation is an important medium in many art forms, particularly in music and dance, transmitting information that cannot easily be expressed using words or language. Another field that is closely associated with dance and music is sports routine, which equally requires choreography and music. However, from the perspective of music, it is common to observe many incongruencies appearing between the music used and the choreography that impede an optimal perception of the performance. The concept of the notation proceeds with a discussion and review of existing dance notations that could contribute to sports routines, along with rules and a code of points in selected sports routines. The author's involvement as an insider of numerous musical theatre productions also contributed to this study. The notation constructed includes time (tempo), significances of musical accents, direction, and phrasing, along with significances of movements (jump, punch, shape). It is believed that the level of congruence between music and movement will provide optimal visualization, and in that, the notation serves to provide adequate information on both entities for the understanding of athletes and coaches.

Keywords: notation, choreography, music learning, sports routines, congruence

Procedia PDF Downloads 55

Authors: Anthony Coogan

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Born’s probability interpretation of wave functions would have led to nearly identical results had he chosen a frequency interpretation instead. Logically, Born may have assumed that only one electron was under consideration, making it nonsensical to propose a frequency wave. Author’s suggestion: the actual experimental results were not of a single electron; rather, they were groups of reflected x-ray photons. The vertical waveform used by Scrhödinger in his Particle in the Box Theory makes sense if it was intended to represent a quantum leap. The author extended the single vertical panel to form a bar chart: separate panels would represent different energy levels. The proposed bar chart would be populated by reflected photons. Expansion of basic ideas: Part of Scrhödinger’s ‘Particle in the Box’ theory may be valid despite negative criticism. The waveform used in the diagram is vertical, which may seem absurd because real waves decay at a measurable rate, rather than instantaneously. However, there may be one notable exception. Supposedly, following from the theory, the Uncertainty Principle was derived – may a Quantum Leap not be represented as an instantaneous waveform? The great Scrhödinger must have had some reason to suggest a vertical waveform if the prevalent belief was that they did not exist. Complex wave forms representing a particle are usually assumed to be continuous. The actual observations made were x-ray photons, some of which had struck an electron, been reflected, and then moved toward a detector. From Born’s perspective, doing similar work the years in question 1926-7, he would also have considered a single electron – leading him to choose a probability distribution. Probability Distributions appear very similar to Frequency Distributions, but the former are considered to represent the likelihood of future events. Born’s interpretation of the results of quantum experiments led (or perhaps misled) many researchers into claiming that humans can influence events just by looking at them, e.g. collapsing complex wave functions by 'looking at the electron to see which slit it emerged from', while in reality light reflected from the electron moved in the observer’s direction after the electron had moved away. Astronomers may say that they 'look out into the universe' but are actually using logic opposed to the views of Newton and Hooke and many observers such as Romer, in that light carries information from a source or reflector to an observer, rather the reverse. Conclusion: Due to the controversial nature of these ideas, especially its implications about the nature of complex numbers used in applications in science and engineering, some time may pass before any consensus is reached.

Keywords: complex wave functions not necessary, frequency distributions instead of wave functions, information carried by light, sketch graph of uncertainty principle

Procedia PDF Downloads 164