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Journal articles on the topic 'Staging'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 October 2024

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1

Žavbi Milojević, Nina. "The classical dramatic text and its value in contemporary theatre." Journal of Education Culture and Society 4, no. 1 (January 12, 2020): 228–35. http://dx.doi.org/10.15503/jecs20131.228.235.

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This paper deals with the classical dramatic text and its staging in contemporary theatre. Specifi cally, it aims to show that classical texts can address topical issues. This is illustrated by the example of several stagings of Ivan Cankar’s Hlapci, one of the most infl uential dramatic texts in Slovene literature. The history of this dramatic text is presented from its fi rst publication and reception to the different stagings in various Slovene professional theatres. The focus is on how the situation in Slovene society is refl ected in each examined staging. The drama Hlapci was fi rst staged almost one hundred years ago, when the staging followed closely the dramatic text. However, after 1980 stagings became more independent from the text and more artistic freedom was allowed. The paper will prove that classical dramatic texts are very appropriate for staging in contemporary theatre, especially with an innovative director’s approach.

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2

Haitzinger, Nicole, and Stella Lange. "Europe's Staging – Staging Europe." Forum Modernes Theater 31, no. 1-2 (2020): 125–29. http://dx.doi.org/10.1353/fmt.2020.0010.

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3

Watson, Chris. "Staging." Oncology Times 43, no. 5 (March 5, 2021): 4. http://dx.doi.org/10.1097/01.cot.0000737680.02010.39.

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4

Resnick, Martin I. "Staging." Journal of Urology 147, no. 3 Part 2 (March 1992): 881–82. http://dx.doi.org/10.1016/s0022-5347(17)37411-6.

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5

Sessler, Andrew M. "Staging." Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment 503, no. 1-2 (May 2003): 62–63. http://dx.doi.org/10.1016/s0168-9002(03)00642-9.

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6

Bernick, Paul E., and W. Douglas Wong. "Staging." Surgical Oncology Clinics of North America 9, no. 4 (October 2000): 703–20. http://dx.doi.org/10.1016/s1055-3207(18)30106-6.

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7

Kim, Sophie-Jung Hyun. "Staging." American Historical Review 129, no. 2 (June 1, 2024): 578–86. http://dx.doi.org/10.1093/ahr/rhae171.

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8

Mader, Jon T., Mark Shirtliff, and Jason H. Calhoun. "Staging and Staging Application in Osteomyelitis." Clinical Infectious Diseases 25, no. 6 (December 1997): 1303–9. http://dx.doi.org/10.1086/516149.

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9

Levin, David J. "Reading a staging/Staging a reading." Cambridge Opera Journal 9, no. 1 (March 1997): 47–71. http://dx.doi.org/10.1017/s0954586700005152.

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In February of 1929, the German National Party raised a matter of pressing concern in the Prussian State Parliament: the party requested a parliamentary investigation into ‘the transformation of the State Opera at the Platz der Deutschen Republik (popularly known as the Kroll Opera) into a laboratory for Bolshevik art experiments’. The crisis had become particularly acute in the wake of the Kroll Opera's production of Der fliegende Holländer, which had been premièred a few weeks earlier on 15 January 1929 and which, according to the party, brazenly ‘mocked the spirit of Richard Wagner’. For anyone who has worked on Wagner or, for that matter, simply attended performances of his works, the sentiments come as no surprise. Indeed, the fact that they arose in the wake of Otto Klemperer's and Jiirgen Fehling's famously abstract production (with sets by Ewald Dülberg) make them almost predictable. Fehling and Klemperer incurred the wrath of the National Party for producing what I want to call a ‘critical reading’ of Wagner's text. In Klemperer's and Fehling's reading, the Dutchman's ship may be anchored in the mid-nineteenth century, but it is not permanently mired there. And that is precisely what enraged the National Party, just as years later Patrice Chereau would incur the wrath of countless like-minded Wagnerians, whose recourse to the official channels of government for the redress of their aesthetic grievances was, however, no longer so direct.

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10

RISI, CLEMENS. "Shedding light on the audience: Hans Neuenfels and Peter Konwitschny stage Verdi (and Verdians)." Cambridge Opera Journal 14, no. 1-2 (March 2002): 201–10. http://dx.doi.org/10.1017/s0954586702000137.

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‘Scandal’, ‘uproar’ and ‘sensation’ are words that are often used by critics when writing about operatic stagings of directors Hans Neuenfels and Peter Konwitschny. Neuenfels' 1981 staging of Aida in Frankfurt/Main aroused a veritable furore, as did his interpretation of Nabucco (Berlin, 2000); similar reactions greeted Konwitschny's Graz Aida (1994) and his Hamburg Don Carlos (2001). Neuenfels and Konwitschny continually undermine traditional concepts of operatic staging: the provocative statements advanced by their powerful images regularly elicit bewildered reactions.

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11

Liu, Li-Yan, and Li-Heng Liu. "Imaging Strategies for Rectal Cancer Initial Staging: Does Pelvic Computed Tomography Provide Significantly Additional Findings when High-resolution Magnetic Resonance Imaging has Been Performed?" Current Medical Imaging Formerly Current Medical Imaging Reviews 16, no. 8 (October 19, 2020): 1029–33. http://dx.doi.org/10.2174/1573405615666191019092606.

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Background: Initial staging of rectal cancer is done by high-resolution magnetic resonance imaging (MRI), however, pelvic computed tomography (CT) is also frequently used. The aim of this study was to evaluate the added clinical benefit of pelvic CT or whether it can alter the initial staging or not. Methods: The study was composed of 187 patients with rectal cancer. Firstly, imaging except pelvic CT was evaluated. Secondly, the pelvic CT was evaluated and the staging was adjusted according to the new findings. Subsequently, the two staging results were compared to investigate the added clinical benefit of pelvic CT. Results: Compared with the imaging data except pelvic CT, new findings revealed by the pelvic CT included metastases of the pelvic bone (n = 1) and pelvic peritoneum (n = 3). However, the new findings did not change the primary staging. Of the three patients with pelvic peritoneal metastasis, two were already determined with peritoneal involvement and ascites by abdominal CT, and the third patient was observed with liver and distant lymph node metastasis. Thus, none of their initial stagings needed to be changed. Conclusions: The addition of pelvic CT to the pre-treatment imaging strategy cannot provide added clinical benefit for the primary evaluation of rectal cancer.

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12

Bostrom, Peter J., Bas W. G. van Rhijn, Neil Fleshner, Antonio Finelli, Michael Jewett, John Thoms, Sally Hanna, Cynthia Kuk, and Alexandre R. Zlotta. "Staging and Staging Errors in Bladder Cancer." European Urology Supplements 9, no. 1 (April 2010): 2–9. http://dx.doi.org/10.1016/j.eursup.2010.01.005.

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13

Delmanto, Ivan. "Nelson Rodrigues e o drama como espírito de repetição do capitalismo no Brasil." Rapsódia, no. 13 (December 20, 2019): 231–55. http://dx.doi.org/10.11606/issn.2447-9772.i13p231-255.

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This article deals with the particular process of Brazilian theater’s formation through two stagings of the play Family album by Nelson Rodrigues: we start from the naturalistic staging of the play’s premiere, in 1967, and proceed to the conception of the eternal return in Antunes Filho’s staging, Nelson Rodrigues The eternal return, of 1981. Antunes’ staging would have congured, through allegorical procedures, an aspect already present in formal issues of Nelson Rodrigues’ dramaturgy the – eternal return – but still obscured by the tradition of national comedy of customs, which only emerged from the Brazilian historical reality at the end of the 1970’s. This reality is characterized, in its turn, by the end of the economic miracle and by dismantling the idea of the country’s appointment with progress. Without an encounter with progress, only the eternal repetition would be left to us.

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14

Chaudhari, Mr Rohit Kiran. "Non-Linear Time History Analysis of an Elevated Water Tank." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 30, 2021): 4327–34. http://dx.doi.org/10.22214/ijraset.2021.35939.

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It was discovered that reinforced concrete elevated water tanks with frame staging outperformed reinforced concrete elevated water tanks with shaft staging in terms of seismic resistance. These can be due to the frame staging's seismic energy absorption capability. As a result, the primary goal of this research is to better understand the seismic behavior and performance characteristics of elevated water tanks with frame staging. Furthermore, when compared to other shapes, circular tanks have the smallest surface area for a given tank size. As a result, the amount of material needed for a circular water tank is less than for other shapes. As a result, a circular water tank was chosen, and seismic analysis of elevated RC circular water tanks was carried out according to IITK-GSDMA guidelines, with the behavior of the water tank analysed for various parameters such as zone factor, soil condition, and different staging heights. SAP 2000 was used to determine the structure's modal characteristics (mode shapes and modal participation mass ratio).

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15

Menchaca, Celeste R. "Staging Crossings." Pacific Historical Review 89, no. 1 (2020): 16–43. http://dx.doi.org/10.1525/phr.2020.89.1.16.

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This article examines the dynamic interactions between Mexican women who sought to circumvent their sexual regulation at the U.S.-Mexico border, and U.S. immigration officials who enforced these regulations and policed these women's bodies in the early twentieth century. Using the transcripts of the board of special inquiry (BSI)—a panel that deliberated over the admission of excludable immigrants and oversaw accompanying interrogations—I contend that, while the BSI operated to encode corporeally Mexican female immigrants as sexually deviant, it simultaneously served as a stage for them to respond with their own performances of crossing. In the interrogation room, women performed a slew of admissible identities, including the devoted mother, aggrieved woman, and hard-working laborer. When those attempts to cross failed, women did not simply return home. Instead, many re-crossed until they reached their intended destination. Thus, the BSI served as a site for Mexican female border crossers to both uphold and challenge the production of heteropatriarchal notions of marriage. These findings contribute to the growing literature on U.S. border enforcement in the early twentieth century and uncover the (dis)order of a growing U.S. bureaucratic infrastructure based on sexual and gendered regulation.

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16

Hamilton, Tim, and Stephen O'Neill. "Staging Ireland." Canadian Journal of Irish Studies 33, no. 2 (2007): 76. http://dx.doi.org/10.2307/25515692.

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17

Zaccarini, John-Paul. "Staging Intersectionality." lambda nordica 25, no. 3-4 (April 26, 2021): 126–38. http://dx.doi.org/10.34041/ln.v25.711.

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This essay follows the making of a queer of colour aesthetic space in the form of a music video entitled Brother, within a largely homogenous white University. The video places white heteronormativity on the periphery whilst intersectional brown bodies take the centre. It inverts racist and fetishistic tropes in music video culture and reverses the white male gaze. The making of the video created a small brown island in a sea of white as a vision of a future brown space protected from the ubiquitous, ambivalently festishizing white gaze; a gaze that projects its own narrative onto bodies of colour. It puts forward a thesis of racial agency, whereby the performance of “race” is scripted by the person of colour and not provoked by the construct of whiteness.

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18

Hecker, Erich, and Wolfgang Gesierich. "Mediastinales Staging." Onkologie up2date 4, no. 02 (May 23, 2022): 125–41. http://dx.doi.org/10.1055/a-1756-0937.

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19

Calderón Bentin, Sebastián. "Staging Neoliberalism." Performance Philosophy 7, no. 1 (April 22, 2022): 132–49. http://dx.doi.org/10.21476/pp.2022.71309.

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While the by now popular term "posttruth" remains, as Jayson Harsin and others argue, a contested and problematic concept, as a periodizing term it is useful in that it encapsulates collective anxieties and cognitive effects brought on by the increased commodification of knowledge, the marketization of political discourse, and the emergence of new economies and technologies of attention that fragment and destabilize relations of trust and authority across fields of inquiry (e.g. science and medicine), knowledge institutions (e.g. news and universities), and media technologies (e.g. video and photography) traditionally seen as arbiters of truth and facticity within the hegemony of Anglo-American liberalism. This paper considers the role of neoliberalism in the emergence of posttruth performance by reflecting on the work of public relations companies deployed in 2017 to promote the construction of a new power plant in New Orleans, as well as the work of the pro-Brexit campaign group Leave.EU in the run up to the 2016 referendum. Through these case studies the article demonstrates ways in which theater and performance studies can offer important critical tools with which to understand and dissect the structural conditions of posttruth in the twenty-first century.

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20

Hecker, Erich, and Wolfgang Gesierich. "Mediastinales Staging." Allgemein- und Viszeralchirurgie up2date 15, no. 06 (December 2021): 513–29. http://dx.doi.org/10.1055/a-1676-0463.

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21

McKee, C. C. "Staging Mirrors." liquid blackness 6, no. 1 (April 1, 2022): 50–83. http://dx.doi.org/10.1215/26923874-9546562.

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Abstract This essay deploys Lacanian psychoanalysis and Black feminist theory to assert that the prominent use of mirrors in the paintings and sculptures of Deborah Anzinger, a contemporary Kingston-based Jamaican artist, are crucial to understanding subjectivity as inextricable from tropical ecology in her practice. Within what Anzinger terms an “aesthetic syntax,” the mirror is a catalyst around which her abstract compositions—which include paint, clay, synthetic hair, and Aloe barbadensis plants—conceptualize a racialized and gendered self that emerges from the reflective interaction between queer Black femininity and Caribbean ecologies. The fluid interdependence of bodies and landscapes in these works theorizes what this essay names a black ontological dehiscence that is capable of holding the afterlives of slavery together with other, ecologically porous forms of personhood. The artworks investigate the relational property of racialized and gendered alterity and open onto a psychoanalytic field of inquiry informed by Black feminist thought to unravel the colonizing borders of intersubjectivity and blur the distinction between desire and jouissance. Placing Lacan's theorization of the mirror stage in relation to the black aesthetic of Anzinger's works situates the psychoanalytic subject within an expanded field. Attending to the environments reflected in Anzinger's mirrors reveals the ecological inflections suggested by Lacanian subjectivity but never recognized within it. Moreover, the subject's fragmented coherence before the mirror elucidates Anzinger's approach as one that embraces ontological dehiscence as an ecologically relational position materially and psychically entangled with the world.

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22

Hecker, Erich, and Wolfgang Gesierich. "Mediastinales Staging." Zentralblatt für Chirurgie - Zeitschrift für Allgemeine, Viszeral-, Thorax- und Gefäßchirurgie 146, S 01 (September 2021): S33—S47. http://dx.doi.org/10.1055/a-1478-0954.

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23

Hecker, Erich, and Wolfgang Gesierich. "Mediastinales Staging." Pneumologie 75, no. 12 (December 2021): 981–96. http://dx.doi.org/10.1055/a-1582-6919.

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24

Bident, Christophe, and Sylvia Gorelick. "Staging Blanchot." SubStance 50, no. 2 (2021): 141–55. http://dx.doi.org/10.1353/sub.2021.0023.

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25

Hoch, Robert C. "“Staging” Pneumothorax." New England Journal of Medicine 356, no. 22 (May 31, 2007): 2312. http://dx.doi.org/10.1056/nejmicm061662.

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26

Wiener, Margaret J. "Staging magic." HAU: Journal of Ethnographic Theory 7, no. 3 (December 2017): 387–91. http://dx.doi.org/10.14318/hau7.3.024.

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27

Leistra-Jones, Karen. "Staging Authenticity." Journal of the American Musicological Society 66, no. 2 (2013): 397–436. http://dx.doi.org/10.1525/jams.2013.66.2.397.

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AbstractJoseph Joachim, Johannes Brahms, and other members of their circle were important figures in the ascendancy of the Werktreue paradigm of performance in the second half of the nineteenth century. This article explores the ways in which their approach to Werktreue intersected with a broader ideal of “authentic” subjectivity. An authentic performer, according to this ideal, would be true to himself or herself, absorbed in the music, oblivious of the audience, and restrained in gestures and overall expressivity. I examine how these musicians performed authenticity in different types of self-representation, including autobiographical writings, portraits, and musical performances. Furthermore, I explore the connection between the subjectivity modeled in their performances and the aesthetic ideology of nonprogrammatic instrumental music. Concerns about authenticity played an important role in the struggle over the ownership of the Austro-German musical tradition; debates about which performers were “authentic” often hinged on the question of who could claim the cultural and spiritual aptitude necessary to inhabit the thoughts of master composers. In this context, the performative strategies associated with authenticity also evoked social codes associated with gender, nationality, and race during a period in which participation in Germanic culture was being conceived of in increasingly exclusive terms.

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28

A.B. and Nico Wood. "Staging Textures." Departures in Critical Qualitative Research 3, no. 2 (June 2014): 176–81. http://dx.doi.org/10.1525/dcqr.2014.3.2.176.

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29

Exner, Ruth, and Florian Fitzal. "Axilläres Staging." Senologie - Zeitschrift für Mammadiagnostik und -therapie 17, no. 04 (December 2020): 240. http://dx.doi.org/10.1055/a-1202-6432.

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30

Rubin, Krista M. "Melanoma Staging." Journal of the Dermatology Nurses' Association 2, no. 6 (November 2010): 254–59. http://dx.doi.org/10.1097/jdn.0b013e3181ffa393.

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31

&NA;. "Melanoma Staging." Journal of the Dermatology Nurses' Association 2, no. 6 (November 2010): 260–61. http://dx.doi.org/10.1097/jdn.0b013e3182040978.

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32

Avitabile, Teresio, Livio Franco, Elina Ortisi, Francesco Castiglione, Manuela Pulvirenti, Benedetto Torrisi, Filippo Castiglione, and Alfredo Reibaldi. "Keratoconus Staging." Cornea 23, no. 7 (October 2004): 655–60. http://dx.doi.org/10.1097/01.ico.0000127486.78424.6e.

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33

Firunts, Mashinka. "Staging Professionalization." Performance Research 21, no. 6 (November 2016): 19–25. http://dx.doi.org/10.1080/13528165.2016.1240924.

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34

BRYDEN, M. "STAGING BALZAC." French Studies Bulletin 15, no. 52 (January 1, 1994): 7–10. http://dx.doi.org/10.1093/frebul/15.52.7.

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35

Manchanda, Catharina. "Staging history." History of Photography 31, no. 1 (March 2007): 57–67. http://dx.doi.org/10.1080/03087298.2007.10443502.

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36

Vansteenkiste, Johan, Christophe Dooms, Heinrich Becker, and Paul De Leyn. "Staging procedures." European Journal of Cancer Supplements 3, no. 3 (October 2005): 7–19. http://dx.doi.org/10.1016/s1359-6349(05)80257-5.

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37

Detterbeck, Frank C., Malcolm M. DeCamp, Leslie J. Kohman, and Gerard A. Silvestri. "Invasive Staging*." Chest 123, no. 1 (January 2003): 167S—175S. http://dx.doi.org/10.1378/chest.123.1_suppl.167s.

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38

MEYERHOFF, WILLIAM L., and JOHN TRUELSON. "CHOLESTEATOMA STAGING." Laryngoscope 96, no. 9 (September 1986): 935???939. http://dx.doi.org/10.1288/00005537-198609000-00002.

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39

Hesford, Wendy S. "Staging Terror." TDR/The Drama Review 50, no. 3 (September 2006): 29–41. http://dx.doi.org/10.1162/dram.2006.50.3.29.

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What might at first appear as two disparate performance spaces—a gallery and a theatre—are actually complementary aspects of the traumatic real. The juxtaposition of the Inconvenient Evidence photography exhibit on abuses at Abu Ghraib prison and the documentary play Guantánamo: “Honor Bound to Defend Freedom” suggests a correspondence between the documentary spectacles of war and theatre.

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40

Rabey, Ian. "Staging Crash." Studies in Theatre and Performance 23, no. 1 (March 2003): 41–54. http://dx.doi.org/10.1386/stap.23.1.41/0.

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41

Ramalingam, Kirithiga, and Shyam S. Allamaneni. "Staging Melanoma." Surgical Clinics of North America 100, no. 1 (February 2020): 29–41. http://dx.doi.org/10.1016/j.suc.2019.09.007.

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42

Hegde, Pravachan V. C., and Moishe Liberman. "Mediastinal Staging." Thoracic Surgery Clinics 26, no. 3 (August 2016): 243–49. http://dx.doi.org/10.1016/j.thorsurg.2016.04.005.

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43

Edensor, Tim. "Staging tourism." Annals of Tourism Research 27, no. 2 (April 2000): 322–44. http://dx.doi.org/10.1016/s0160-7383(99)00082-1.

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44

Feussner, H., S. J. M. Kraemer, and J. R. Siewert. "Staging-laparoscopy." Der Chirurg 68, no. 3 (March 1997): 201–9. http://dx.doi.org/10.1007/s001040050175.

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45

DiCaglio, Sara. "Staging Embryos." Body & Society 23, no. 2 (March 31, 2017): 3–24. http://dx.doi.org/10.1177/1357034x17697801.

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46

Silber, Michael H. "Staging Sleep." Sleep Medicine Clinics 4, no. 3 (September 2009): 343–52. http://dx.doi.org/10.1016/j.jsmc.2009.04.003.

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47

Silber, Michael H. "Staging Sleep." Sleep Medicine Clinics 7, no. 3 (September 2012): 487–96. http://dx.doi.org/10.1016/j.jsmc.2012.06.009.

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48

HARRIS-WARRICK, REBECCA. "Staging Venice." Cambridge Opera Journal 15, no. 3 (November 2003): 297–316. http://dx.doi.org/10.1017/s0954586703001757.

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Starting in 1697 a series of operatic works set in Venice during Carnival season appeared on the stage of the Paris Opéra, a phenomenon that marked a major shift in repertoire from a period that had been dominated by the Lullian tragédie en musique. This article investigates the implications of the sudden French fascination with things Venetian and explores the multiple agendas Venice served within the world of French opera.

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49

Francl, Michelle. "Staging science." Nature Chemistry 2, no. 5 (May 2010): 338–39. http://dx.doi.org/10.1038/nchem.632.

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50

Thomas, Lynne A. "Endoscopic Staging." Gastroenterology Nursing 28, no. 3 (May 2005): 243–44. http://dx.doi.org/10.1097/00001610-200505000-00010.

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