Littérature scientifique sur le sujet « Public Theatre (New York, N.Y.) »

German American theatre in late nineteenth- and early twentieth-century New York City became a model for both a national American theatre and other diasporic theatres in the US. This theatre aspired to an autonomous, class-free, universal culture, which was seen as the legacy of a German Enlightenment tradition epitomized by Schiller's national(izing) theatre. German Americans were thus exceptionally positioned to claim the ideology of a universal culture as a national characteristic. At the same time, however, the theatre was structured by market demands and the need to appeal to a diverse German American constituency. This oscillation between idealistic and commercial culture made the German American theatre attractive. In the end, the theatre not only helped legitimize New York City's cultural periphery, but became a model when a new American ‘national’ culture, the national theatre, was being imagined, which ultimately illustrates the importance of the concept of legitimacy for hybrid public cultures.

Between 1921 and 1925, an experimental form of nongovernmental censorship of the theatre was developed and practiced in New York City. Referred to variously as volunteer juries, citizens' juries, or the play-jury system, the experiment attempted to overcome the shortcomings of existing legal controls on the theatre and to relieve public concerns about the exploitation of sexually suggestive and obscene materials in stage plays. Although the play-jury system was short-lived, a review of its brief career reveals significant accomplishments and can provide a clearer picture of some of the issues confronting the American theatre in the first part of the twentieth century.

In an article in NTQ22 (May 1990), Glenn Loney clarified, with special concern for a British readership, the many ‘Factors in the Broadway Equation’. In NTQ 30 (May 1992), he took a closer look at the productions of the 1990–91 season, with its glut of musicals, from the lavish to the just plain lousy, economic ‘single-person shows’ – and the sometimes more challenging products of the off-Broadway and not-for-profit sectors. Here, he continues to trace the long decline of the ‘fabulous invalid’ through the season of 1991–92 – a season overshadowed by the death of Joe Papp, the mourning for a great showman mixed with concern for the future of his Public Theatre enterprises. The paucity of productions on Broadway – where, while one show could lose its backers four million dollars overnight, Peter Pan took American audiences happily back to the traditions of English pantomime – continued to contrast with signs of life elsewhere, and new productions marked milestone-anniversaries for La Mama and the Manhattan Theatre Club. Glenn Loney, is a widely published theatre writer and teacher based in New York.

knowledge of the theatre of South America tends to be shamefully scanty in the English-speaking world: yet the forces of rapid political change, both revolutionary and repressive, often provoke innovative theatrical responses. NTQ intends to pursue the study of theatre in this huge continent. The following interview was conducted by Glenn Loney with the young director Carlos Gimenez – a refugee from Argentina presently working with his Rajatabla troupe in Caracas, Venezuela – whose production of Bolivar was brought to the Public Theatre in New York last summer, with a return visit planned to include The Death of Garcia Lorca, both discussed in the following conversation. Glenn Loney is a widely published American drama critic, teacher, and writer, presently teaching on the doctoral theatre programme of the City University of New York, and working on the American volume in the Documents of Theatre History series for publication by Cambridge University Press.

Stories of American democracy, whether critical or congratulatory, canonical or popular, feature “the public” as their recurring protagonist. “The public” is a rhetorical fixture of political campaigns and democratic theories, opinion polls and calls to action. Its influence is formidable: the very idea scores political speech, and calls citizens into being. Yet as many scholars have argued, “the public” is a moving target, and possibly even a total fiction. Perhaps the best-known challenge in recent decades has come from literary critic and social theorist Michael Warner. “Publics” he writes in hisPublics and Counterpublics,“have become an essential part of the social landscape, and yet it would tax our understanding to say exactly what they are.” If a public is difficult to describe, it is in part, Warner explains, because the idea hovers in modern imaginaries between the concrete and the abstract. “A public” can conjure at once: a bounded audience—“a crowd witnessing itself in visible space”; a more abstract “social totality” like the constituents of a nation; and a community conjured through shared texts or identities.

It is no secret, unhappily, that the study of theatre in the colleges and universities of this country is a discipline under siege, but the severity of the problems received strong confirmation in New York State this fall when two of the most distinguished and long-established (over a century in both cases) programs in the country were, with little warning, faced with draconian cuts or outright extinction. The fact that one, the state University of Albany, was the flagship school of the public system, and the other, Cornell University, was one of the state's most distinguished private institutions, suggests the scope and impact of these actions. At Albany, four other programs are being terminated along with theatre—Classics, Russian, Spanish, and French—while at Cornell the extent of the severe cuts imposed on the theatre program—almost a quarter of the total budget of the department (which also shelters dance and film)—are being suffered by no other program in the university. The prominence of these two schools in a state that has long claimed a central position in American theatre makes them particularly significant symbolically of a discipline in crisis, and this has impelled me to engage in serious and sometimes painful reflections on that discipline, the basis of the present essay.

BackgroundThe experience of art offers an emerging field in healthcare staff development, much of which is appropriate to the practice of palliative care. The workings of aesthetic learning interventions such as interactive theatre in relation to palliative and end of-life care staff development programmes are widely uncharted.AimTo investigate the use of aesthetic learning interventions used in palliative and end-of-life care staff development programmes.DesignScoping review.Data sourcesPublished literature from 1997 to 2015, MEDLINE, CINAHL and Applied Social Sciences Index and Abstracts, key journals and citation tracking.ResultsThe review included 138 studies containing 60 types of art. Studies explored palliative care scenarios from a safe distance. Learning from art as experience involved the amalgamation of action, emotion and meaning. Art forms were used to transport healthcare professionals into an aesthetic learning experience that could be reflected in the lived experience of healthcare practice. The proposed learning included the development of practical and technical skills; empathy and compassion; awareness of self; awareness of others and the wider narrative of illness; and personal development.ConclusionAesthetic learning interventions might be helpful in the delivery of palliative care staff development programmes by offering another dimension to the learning experience. As researchers continue to find solutions to understanding the efficacy of such interventions, we argue that evaluating the contextual factors, including the interplay between the experience of the programme and its impact on the healthcare professional, will help identify how the programmes work and thus how they can contribute to improvements in palliative care.References. Economist Intelligence Unit. 2015Quality of Death Index Ranking palliative care across the world. https://www.eiuperspectives.economist.com/healthcare/2015-quality-death-index, (2013 accessed 09/01/2017). World Health Organisation.WHO Definition of Palliative Care. Geneva: WHO. 2009.. Department of Health.Equity and excellence: Liberating the NHS. London: The Stationery Office Ltd. 2010.. Neuberger J.More care, less pathway: a review of the Liverpool care pathwayhttps://www.gov.uk/government/uploads/system/uploads/attachment_data/file/212450/Liverpool_Care_Pathway.pdf,(2013, accessed 09/12/2015). The National Council for Palliative Care. Commissioning Guidance for Specialist Palliative Care: Helping to deliver commissioning objectives.http://www.ncpc.org.uk/sites/default/files/CommissioningGuidanceforSpecialistPalliativeCare.pdf, (2012, accessed 15/12/2015). Leadership Alliance for the Care of Dying People.One Chance to get it Right.https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/323188/One_chance_to_get_it_right.pdf, (2014accessed 15/12/2015). Cavaye J and Watts J. An Integrated Literature Review of Death Education in Pre-Registration Nursing Curricula: Key Themes, International Journal of Palliative Care, 2014, Article ID 564619, 19 pages. Gibbins J, McCoubrie R. Forbes K. Why are newly qualified doctors unprepared to care for patients at the end of life?Medical Education2011; 45(4): 389–399.. Gillan PC, van der Riet PJ and Jeong S. End of life care education, past and present: A review of the literature.Nurse Education Today2014; 34(3): 331–342.. Holms N, Milligan S and Kydd A. ‘A study of the lived experiences of registered nurses who have provided end-of-life care within an intensive care unit’,International Journal Of Palliative Nursing2014; 20(11): 549-556.. Levack P. Palliation and the caring hospital – filling the gap.Journal of the Royal College of Physicians Edinburgh2014; 44: 98–102.. Parliamentary and Health Service Ombudsman.Dying without dignity.http://www.ombudsman.org.uk/reports-and-consultations/reports/health/dying-without-dignity#_ftn1, (2015, accessed 15/12/2015).. NHS England.Actions for End of Life Care: 2014-16. https://www.england.nhs.uk/wp-content/uploads/2014/11/actions-eolc.pdf, (2014, accessed 15/12/2015).. Thun MJ, DeLancey JO, Centre MM, Jemal A, and Ward E M. The global burden of cancer: priorities for prevention.Carcinogenesis2010;31(1), 100–110.. Crawford P, Brown B, Baker, C, Tishler, V and Abrams B.Health Humanities. London: Palgrave Macmillan, 2015.. Tolstoy N. 1897.What is Art? [Qu est-ce que l' art?]. Paris: Gallimard, 1971.. Chinn PL, Maeve MK, and Bostick C. Aesthetic inquiry and the art of nursing.Scholarly Inquiry for Nursing Practice1997; 11: 83–96.. Goldenberg G. Sarah Sheets Cook: the invisible nurse.The Academic Nurse1999; 16(1): 26–28.. Buckley J. Massage and aromatherapy massage: nursing art and science.International Journal of Palliative Nursing2002; 8: 276–280.. Gramling KL. Ice chips and hope: the coach’s story of caring art.International Journal for Human Caring2004; 8(2): 62–64.. Gramling KL. Sarah’s story of nursing artistry: they do it with joy.Journal of Holistic Nursing2006; 24: 140–142.. Ryan J. Aesthetic physical caring: valuing the visible.Nursing in Critical Care2004; 9: 181–187.. Mendes IAC. Cultivating the art of service.Revista Latino Americana de Enfermagem2005; 13(2): 135.. Wyngaarden JB and Smith LH.Cecil textbook of medicine.Philadelphia: WB Saunders, 1985.. Saunders, J. The practice of clinical medicine as an art and as a science.Med Humanities2000; 26:18-22.. Egnew, T. The Art of Medicine: Seven Skills That Promote Mastery.FamilyPractice Management.2014; 21(4): 25-30.. Funch BS. The psychology of art appreciation. Copenhagen: Museum Tusculanum Press, 1997.Perry M, Maffulli N, Willson S and Morrissey D. The effectiveness of arts-based interventions in medical education: a literature review. Medical Education2011; 45(2): 141-148.. Wilson C, Bungay H, Munn-Giddings, C and Boyce M. Healthcare professionals’ perceptions of the value and impact of the arts in healthcare settings: A critical review of the literature.International Journal of Nursing Studies2016; 56: 90-101.. Ousager J and Johannessen H. Humanities in undergraduate Medical Education: A Literature Review. Academic Medicine2010; 85(6): 988-98.. Fairbrother G, Cashin A, Mekki TE, Graham I and McCormack B. Is it possible to bring the emancipatory practice development and evidence-based practice agendas together in nursing and midwifery?FoNS 2015 International Practice Development Journal2015; 5(1) [4].. Levac D, Colquhoun H and O’Brien KK. Scoping studies: advancing the methodology. Implementation Science2010; 5: 1–9.. Arksey H and O’Malley L. Scoping studies: towards a methodological framework.International Journal of Social Research Methodology: Theory & Practice2005; 8: 19-32.. Rumrill P, Fitzgerald S and Merchant W. Using scoping literature reviews as a means of understanding and interpreting existing literature.Work2010; 35: 399-404.. Grant M and Booth A: A typology of reviews: an analysis of 14 review types and associated methodologies.Health Info Libr J2009, 26: 91-108.. Brien S, Lorenzetti D, Lewis S, Kennedy J and Ghali W: Overview of a formal scoping review on health system report cards.Implement Sci2010, 5:2.. Armstrong R, Hall BJ, Doyle J and Waters E. Scoping the scope of a cochrane review.Journal of Public Health2011; 33: 147–150.. Daudt HM, Van Mossel C and Scott SJ. Enhancing the scoping study methodology: a large, inter-professional team’s experience with Arksey and O’Malley’s framework.BMC Medical Research Methodology2013; 13: 48.. Braun, V. and Clarke, V. Using thematic analysis in psychology. Qualitative Research in Psychology 2006; 3 (2): 77–101.. RefWorks.RefWorks your online research management, writing and collaboration tool,2009.. Bettany-Saltikov J.How to do a systematic literature review in nursing: a step-by-step guide. Maidenhead: McGraw-Hill/Open University Press, 2012.. Davis K. Drey N. and Gould D. What are scoping studies? A review of the nursing literature.Int J Nurs Stud2009; 46(10): 1386-400.. Pawson R. Evidence-based policy: in search of a method.Evaluation2002; 8(2): 157-181.. Duffin C. “Raising Awareness to Support People with Dementia in Hospital”,Nursing Older People2013; 25(5): 14–17.. Skye EP, Wagenschutz H, Steiger JA and Kumagai AK. Use of interactive theatre and role play to develop medical students’ skills in breaking bad news,Journal of Cancer Education2014; 29(4): 704–708.. Baer AN, Freer, JP, Milling DA, Potter, WR, Ruchlin H and Zinnerstrom KH Breaking bad news: use of cancer survivors in role-playing exercises,Journal of palliative medicine 200811(6): 885–892.. Tait GR and Hodges BD Residents learning from a narrative experience with dying patients: a qualitative study.Advances in Health Sciences Education2013; 18(4): 727–743.. Jones A. Death, poetry, psychotherapy and clinical supervision (the contribution of psychodynamic psychotherapy to palliative care nursing),Journal of advanced nursing1997; 25(2): 238–244.. Shapiro J, Hunt L. All the world’s a stage: the use of theatrical performance in medical education.Med Educ2003; 37(10): 922–7. Robinson S. Holistic health promotion: Putting the art into nurse education.Nurse Education in Practice2007; 7(3): 173--180.. Shapiro J, and Cho B. Medical Readers’ Theatre: Relevance to Geriatrics Medical Education,Gerontology & Geriatrics Education2011; 32(4): 350--366.. Durgahee T. Reflective practice: nursing ethics through story telling”,Nursing ethics1997; 4(2): 135–146.. Reilly J, Trial J, Piver D and Schaff P. Using Theatre to Increase Empathy Training in Medical Students,Journal for Learning through the Arts2012; 8(1).. Inske ep S and Lisco S. Alternative Clinical Nursing Experience in an Art Gallery.Nurse Educator2001; 26(3): 117--119.. Thompson T, van de Klee D, Lamont-Robinson, C and Duffin W. Out of Our Heads! Four perspectives on the curation of an on-line exhibition of medically themed artwork by UK medical undergraduates”,Medical Education Online 2010; 15.. Hickey D, Doyle C, Quinn S, O’Driscoll P, Patience D, Chittick K and Cliverd A. Catching’ the concept of spiritual care: implementation of an education programme”,International journal of palliative nursing2008; 14(8): 396–400.. Deloney LA and Graham CJ. Wit: using drama to teach first-year medical students about empathy and compassion,Teaching & Learning in MedicineCatching’ the concept of spiritual care: implementation of an education 15(4): 247–251.. Hodges HF, Keeley AC and Grier EC. Masterworks of art and chronic illness experiences in the elderly,Journal of advanced nursing2001; 36(3) 389–398.. Marchand L and Kushner K. Death pronouncements: using the teachable moment in end-of-life care residency training,Journal of palliative medicine2004; 7(1) 80–84.. Beach WA, Buller MK, Dozier DM, Bulle DB and Gutzmer K. The Conversations About Cancer (CAC) Project: Assessing Feasibility and Audience Impacts From Viewing The Cancer Play,Health communication2014; 29(5): 462–472.. Begley A, Glackin M and Henry R. Tolstoy, stories, and facilitating insight in end of life care: Exploring ethics through vicarious experience,Nurse Education today2011; 31(5): 516–520.. Kumagai AK. Perspective: Acts of Interpretation: A Philosophical Approach to Using Creative Arts in Medical Education,Academic Medicine2012; 87(8): 1138--1134.. Özcan NK, Bilgin H and Eracar N. The Use of Expressive Methods for Developing Empathic Skills,Issues in Mental Health Nursing2011; 32(2): 131–136.. Tuxbury J, McCauley P and Lement W. Nursing and Theatre Collaborate: An End-of-Life Simulation Using Forum Theatre,Journal of Nursing Education,2012; 51(8) 462–5.. Yalden J, McCormack B, O’Connor, M and Hardy S, Transforming end of life care using practice development: an arts-informed approach in residential aged care,International Practice Development Journal2013; 3(2).. Sklar DP, Doezema D, McLaughlin S and Helitzer D. Teaching communications and professionalism through writing and humanities: reflections of ten years of experience,Academic Emergency Medicine2002; 9(11): 1360–1364.. Sperlazza E and Cangelosi PR. The Power of Pretend: Using Simulation to Teach End-of-Life Care,Nurse Educator2009; 34(6): 276--280.. Gillis C. “Seeing the difference”: An interdisciplinary approach to death, dying, humanities, and medicine.Journal of Medical Humanities2006;27(2): 105–115.. Donovan T and Mercer D. Onward in my journey: preparing nurses for a new age of cancer care,Cancer nursing2003; 26(5) 400–404.. Fogarty CT. Fifty-five word stories: “small jewels” for personal reflection and teaching,Family medicine2010; 42(6): 400–402.. Foster W and Freeman E. Poetry in general practice education: perceptions of learners,Family Practice2008;25(4) 294–303.. Lillyman S, Gutteridge R and Berridge P. Using a storyboarding technique in the classroom to address end of life experiences in practice and engage student nurses in deeper reflection,Nurse Education in Practice2011; 11(3): 179–185.. Frei J, Alvarez S and Alexander M. Ways of Seeing: Using the Visual Arts in Nursing Education,Journal of Nursing Education2010; 49(12): 672--676.. Sherman DW, Matzo ML, Pitorak E, Ferrell BR and Malloy P. Preparation and care at the time of death: content of the ELNEC curriculum and teaching strategies,Journal for Nurses in Staff Development2005; 21(3): 93–102.. Franklin M. Acting on dilemmas in palliative care,Nursing times2001; 97(49): 37–38.. Epner DE and Baile WF. Difficult conversations: teaching medical oncology trainees communication skills one hour at a time,Academic Medicine2014; 89(4): 578–584.. Shannon SE, Long-Sutehall T and Coombs M. Conversations in end-of-life care: communication tools for critical care practitioners,Nursing in critical care.2011; 16(3): 124–130.. Deci EL and Ryan RM.Intrinsic motivation and self-determination in human behaviour. New York: Plenum Press, 1985.. Wee B, Hillier R, Coles C, Mountford B, Sheldon F and Turner P. Palliative care: a suitable setting for undergraduate interprofessional education,Palliative Medicine2001; 15: 187–492.. Meng AL and Sullivan J. Interactive theatre: an innovative conflict resolution teaching methodology,Journal for Nurses in Staff Development2011; 27(2): 65–68.. Salas R, Steele K, Lin A, Loe C, Gauna L and Jafar-Nejad P. Playback Theatre as a tool to enhance communication in medical education.Medical Education Online2013; 18(10).. Jonas-Simpson CF, Pilkington B, MacDonald C and McMahon E. Experiences of Grieving When There Is a Perinatal Death,Sage open2013.. Razavi D, Delvaux N, Marchal S, Durieux JF, Farvacques C, Dubus L and Hogenraad R. Does training increase the use of more emotionally laden words by nurses when talking with cancer patients? A randomised study,Br J Cancer2002; 87(1): 1–7.. Twigg R and Lynn M, Teaching End-of-Life Care Via a Hybrid Simulation Approach Simulation Approac,Journal of Hospice & Palliative Nursing2012; 14(5): 374–379.. Baile WF, Kudelka AP, Beale EA, Glober GA, Myers EG, Greisinger AJ, Bast RC, Goldstein MG, Novack D and Lenzi R. Communication skills training in oncology. Description and preliminary outcomes of workshops on breaking bad news and managing patient reactions to illness,Cancer1999; 86(5): 887–897.. Wilkinson S, Perry BK and Linsell L. Effectiveness of a three-day communication skills course in changing nurses’ communication skills with cancer/palliative care patients: randomised controlled trial,Palliative medicine2008; 22: 365–75.

This paper delves into the realms of tragedy, memory and representation. Drawing upon the phenomenon of the Phantom Limb and extending it towards a theory of Phantom Bodies, various artworks - literary, theatrical and visual - are examined. After the conflagration of the terrorist attack, how are these absences grieved over and remembered through artistic representation? The essay examines this question by positioning itself amongst the scarred landscapes of post-September 11 New York and suicide bombings in Israel (2000-2006). Furthermore, it investigates whether humanity can be restored in the aftermath of an event in which certain individuals have sought to eradicate it. The fragmentation of the affected body in these scenarios is understood as further complicating processes of grief and remembrance. Artists who reject political polemic and engage with the dimensions of human loss are seen to have discovered means of referring to the absence caused by the act of terrorism. Three such recurring representations present themselves: ash and remnants, presence/absence and memory building. Phantom Bodies are perceived as simultaneously functioning as a reminder of the event itself, insisting upon the response of bearing witness, and as a symbol of the overwhelming power of humanity. Challenges arise when individuals or sections of the affected society deem these artworks to be inappropriate or explicit. Works considered include: Neil LaBute's play The Mercy Seat, Sigalit Landau's art installation The Country, Jonathan Safran Foer's Extremely Loud & Incredibly Close, Spike Lee's 25th Hour, Daniel Libeskind's architectural plans for the World Trade Center site, Eric Fischl's sculpture 'Tumbling Woman', Honor Molloy's autodelete://beginning dump of physical memory and A.B.Yehoshua's A Woman in Jerusalem. The accompanying play, Tales of Ash: A diptych for the theatre, is set in Melbourne, New York and Tel Aviv and deals with life in the face of and after terror. It veers between naturalism, poetic monologue and the epic. Tales of Ash contains two plays. The first centres on Mia, a young sculptor living in New York, who loses both her lover and her creativity on September 11. Upon returning to her home in Melbourne, she finds familial bonds still entwined with guilt and family trauma. The second play revolves around Ilana and Benny, two people living in Tel Aviv, who find themselves suddenly thrust together after a devastating bombing. As they attempt to resume rhythms of life, in the face of all the inherent ferocity of a modern existence in Israel, the struggle between The Ash Woman and The Ash Takers escalates.

AbstractIn this chapter we aim to explore the role that the linguistic landscape (LL) can play in intercultural telecollaborative exchanges. Although research in the field of LL has gained worldwide interest over the last decade and some studies have analyzed its potential for foreign language learning (Cenoz J, Gorter D, Int Rev Appl Linguist Lang Teach 46(3):267–287, 2008; Gorter D, Cenoz J, Knowledge about language and linguistic landscape. In: Hornberger N (ed), Encyclopedia of language and education. Springer Science, Berlin, pp. 1–13, 2007; Dagenais D et al, Linguistic landscape and language awareness. In: Shohamy E, Gorter D (eds), Linguistic landscape: expanding the scenery. Routledge, New York, pp. 253–269, 2009; Gorter D, Ann Rev Appl Linguist 33:190–212, 2013; Malinowski D et al, Language teaching in the linguistic landscape: mobilizing pedagogy in public space. Springer, Berlin, 2020; Niedt G, Seals C (eds) Linguistic landscapes beyond the language classroom. Bloomsbury Academic, New York, 2020; Krompák E et al (eds) Linguistic landscapes and educational spaces. Multilingual Matters, Bristol, 2021; Solmaz O, Przymus S (eds) Linguistic landscapes in English language teaching: a pedagogical guidebook. Available from https://www.llineltproject.com/, 2021), works that analyze its impact for language and culture awareness in telecollaboration are still scarce (Vinagre M, Engaging with difference: integrating the linguistic landscape in virtual exchange. System 105:102750. https://doi.org/10.1016/j.system.2022.102750,2022).In order to explore these issues, we organized an exchange between undergraduate students of English at Autónoma University in Madrid (UAM) and undergraduate students of Spanish at Columbia University. Over the course of two and a half months the students worked together and discussed a series of topics relating to each other’s and their own cultures. As a final task they were required to take photos of shops, posters, announcements, and walls in their respective cities that showed how English was used in Madrid and how Spanish was used in New York. Findings suggest that attending to the LL as an activity within a telecollaborative exchange provides an ideal opportunity for learning about language diversity from an intercultural perspective. The project also provided evidence of its potential for the creation of a dialogic third space in which participants negotiated their cultural identities.

Abstract With only eleven new plays (three of them British), six musicals, and seven specialty items, the Broadway total of twenty-four productions hit a new low. Off Broadway, a total of thirty-five new plays included six foreign works. But revivals both on and off the Street turned New York into a museum of past theatre glories rather than a showcase for new plays. Eight Shakespearean plays were mounted (six as part of the continuing Shakespeare Marathon at the Public Theatre), joined by remountings of Eugene O’Neill, Tennessee Williams, Thornton Wilder, and other native playwrights’ work. Samuel Beckett, Luigi Pirandello, Sean O’Casey, George Bernard Shaw, and Joe Orton were also represented.

Abstract The death of Joseph Papp on October 31 seemed to cast a shadow over the season, both on and off Broadway. His passing not only raised questions about the future of the Public Theatre and the New York Shakespeare Festival, but it highlighted the precarious position of non-profit theatres. For example, the Negro Ensemble Theatre no longer offered an entire season, just a sole production when it could scrape up the money. Difficulties with the National Endowment for the Arts continued, threatening much-needed funds for many non-profit groups. The economically adventurous Broadway Alliance was tried again this season but came up only with one quick flop, Crazy He Calls Me.

Abstract In the opening paragraphs, omitted here, Hazlitt writes in general terms of Shakespeare and of the play, remarking that, though ‘This character is probably of all others the most difficult to personate on the stage’, ‘Mr Kean’s representation of the character’ which ‘had the most brilliant success’, ‘was a most striking and animated rehearsal [i.e. rendition, performance] of the part.’ Igh as Mr. Kean stood in our opinion before, we have no hesitation in saying that he stands higher in it (and, we think, will in that of the public), from the powers displayed in this last effort.

Abstract In June 1963, an audience of more than two thousand New Yorkers turned out to see a “Salute to Southern Freedom” benefit concert for the Student Nonviolent Coordinating Committee (SNCC) at Carnegie Hall, featuring the SNCC Freedom Singers and gospel singer Mahalia Jackson. The Freedom Singers was a quartet of young African American vocalists, organized by SNCC for fund-raising purposes, that had debuted in a concert with Pete Seeger the previous November. Robert Shelton’s New York Times review of the concert hinted that the audience displayed an even greater interest in the Freedom Singers than the renowned Jackson, attributing this to the fact that the Freedom Singers’ songs “echoed with the immediacy of today’s headlines the integration battle in the South.” The Freedom Singers conveyed to its audiences the texture of the civil rights movement’s daily confrontations, Shelton noted, “in a stirring fashion, musically and morally.”1

This chapter examines the various ways that the Disney Theatrical Group (DTG), a unit within the Walt Disney Company, engages with local musical theatre for elementary and middle school children. DTG’s involvement in the local musical theatre scene includes the creation of kid-friendly versions of shows with supplementary materials and, since 2011, an ambitious philanthropic program to support musical theatre production in underserved public elementary schools. After New York City, DTG established its first Disney Musicals in Schools Program in Nashville, Tennessee. This chapter visits schools and includes interviews with teachers and kids in Nashville, as well as the staff of the Tennessee Performing Arts Center, which oversees the program. Schools across a range of racial and socioeconomic communities produce Disney musicals like The Little Mermaid JR. and Aladdin JR. By loosening its famously tight grip on its product and allowing schools to produce their shows legally, Disney has at once increased revenue and become an instigator of social change and youth empowerment through musical theatre. DTG president Thomas Schumacher said that Disney’s music “is the new American songbook . . . We are this new era of Broadway.” Disney’s vision accommodates a populist agenda as they balance profit and corporate interests with philanthropy and grassroots artistic activism.

Abstract Stanley Green (1923-1990) was one of the leading Broadway historians of his (and Rodgers’s) generation. His work on Rodgers ranges from the brief Rodgers and Hammerstein Story {New York: Da Capo, 1963) to the monumental, encyclopedic, and indispensable Rodgers and Hammerstein Fact Book: A Record of Their Works Together and with Other Collaborators (New York: The Lynn Farnol Group, 1980). Green was also probably the leading researcher in the preparation of Rodgers’s autobiography, Musical Stages, and appeared with Rodgers in a videotaped program for the Theatre Collection of the Lincoln Center Public Library. In the somewhat obscure selection that follows Green offers a reliable and comprehensive survey of Rodgers’s Broadway shows before 19 57 that were adapted into film musicals or originally composed for film. In addition to providing encapsulated plot synopses, production information, and a brief explanation of such idiosyncratic features as the “rhythmic dialogue” in Hallelujah, I’m a Bum, Green also documents those Rodgers and Hart songs not left on the cutting room floor. Of Green’s final predictions and suggestions of future film possibilities, two came to fruition. South Pacific appeared the next year, and Jumbo, the last Rodgers and Hart filmed adaptation, was

Abstract How do you get to Broadway with an unconventional, indecipherable, non-star-driven piece of modernistically esoteric theatre? Assuming you don’t have a rich uncle who owns a theatre chain, or who has a corporation that owns a theatre chain. One way is to mount said esoterica in some off-off-Broadway matchbox and hope that somebody bothers to attend, loves the show, and turns out to be the firststring critic of the Times. This is what is commonly referred to as a long shot; yet it happens once in a very long while along the fabled street of dreams. And thus it was that Squonk journeyed to Forty-fourth Street, courtesy of and just west of the New York Times. The eyes of the creators of Squonk were not set on Broadway, as it happens. Their limited engagement in August 1999, at P.S. 122 on lower First Avenue— an experimental performance space, not a public school— garnered great acclaim and producers eager to transfer it; but they were looking for an off-Broadway venue. Blue Man Group, Stomp, and De La Guarda have demonstrated that there is a definite audience for these nonverbal, nonlinear pieces of nontraditional theatrical nonsense down around the fringes of Union Square and Astor Place.

Pruitt photographed Oscar West on a wooden barrel. A young man, West wears a worn jacket. He holds a broom; a tweed cap rests on his knee. He is stoop shouldered. With confidence and comfort, he looks at the camera. This Black man is photographed in a white man’s studio, the same setting, where white people—the powerful as well as struggling white yeoman farm families—are photographed. This happens during the Jim Crow era in a separate-but-unequal town where Blacks were restricted in where and how they could eat, drink from a water fountain, shop, see movies, stay in a hotel, or have access to a public restroom. In 1987, in an uncatalogued archive, a print of the image was discovered. It was made by a large format camera with an 8x10-inch glass plate negative. Thirteen years later, people who knew West, including his son Oscar Lang, who never had seen the image, spoke about West, a janitor and caretaker for children of his employer at Brown-Buick Cadillac Company. The photograph compares favorably with studio portraiture of Martin Chambi of Peru, Mike Disfarmer of Arkansas, Seydou Keita of Mali, Doris Ulmann of New York, Richard Samuel Roberts of South Carolina, and Jno. Trilica of Texas.

Vicente Iborra Pallarés¹, Francisco Zaragoza Saura2 ¹Building Sciences and Urbanism Department. University of Alicante. Alicante. Politécnica IV, módulo III, 1ª planta. Carretera de San Vicente del Raspeig s/n. 03690 San Vicente del Raspeig ²Concejalía de Urbanismo, Ayuntamiento de Altea. Plaza José María Planelles, 1. 03590 Altea E-mail: vicente.iborra@ua.es, zaragozasaura@gmail.com Keywords (3-5): Public space, historical urban evolution, tourism phenomena, urbanistic project, educational experience Conference topics and scale: City transformations The town of Altea (Alicante, Spain) has an important urban center that has historically been characterized by two contrasting situations: on one hand, the settlements located on the seaside elevations (Bellaguarda and the Renaissance Bastion) linked to the agricultural uses of the fertile valleys of the rivers Algar and els Arcs, and on the other hand the coastal developments, originally fishery, but nowadays with touristic uses on the maritime front. All these elements configure an urban nucleus that, due to its urban, architectural and landscape qualities, gives rise to one of the main tourist attractions of the region. However, the area described nowadays presents an important problem related to the use and habitability of public space, which is invaded by the presence of the private vehicle, even along the seaside, due to its touristic relevance. This article presents the results of an academic experience developed to study different possibilities of urban transformations for the municipality of Altea, taking as a project site the urban vacuum still conserved between the two situations previously described: the historical areas on the coastal elevations (Dalt) and new urban developments parallel to the seaside (Baix). This academic activity, performed by nearly 50 students from the University of Alicante, was developed in the context of the design course Urbanism 5 during the academic year 2015-16, thanks to the agreement signed between the Municipality of Altea and the University of Alicante. References (100 words) Busquets, J. and Correa, F. (2006) Cities X lines: a new lens for the Urbanistic Project (Harvard University Graduate School of Design, Cambridge). Europan Europe (2016) Project and processes (http://www.europan-europe.eu/en/project-and-processes/) accessed January-May 2016. Fernández Per, A. and Mozas, J. (2010) Strategy public (a+t ediciones, Vitoria-Gasteiz). Gehl, J. (2006) La humanización del espacio urbano: la vida social entre los edificios (Reverté, Barcelona). Koolhaas, R. (1995) S, M, L, XL (The Monacelli Press, New York). Lynch, K. (1960) The Image of the City (The Massachusetts Institute of Technology Press, Cambridge). Rebois, D. (ed.) (2014) Europan 12 results. The adaptable city /1 (Europan Europe, Paris).

According to the Bronfenbrenner's ecological systems theory of human development ([1][2][3][4][5]), the development of each individual cannot be observed without considering its relationship with the development of other people and, above all, with the environment in which they live. The ecological orientation of Bronfenbrenner with respect to human development is therefore based on the interest in the progressive adaptation between an active organism that grows and its immediate environment: the individual-environment interaction that is determined by the relationships existing between the different environmental situations and the individuals present in that context is fundamental. Consequently, the ecological environment that is considered relevant to development processes is not limited to a single environmental situation but includes the interconnections between multiple environmental situations and the different influences of each individual. The evolution of the Internet-based technologies has brought to the development of solutions that have profoundly changed the way we live, including education. The advent of social media and social networks represents a milestone in the history of Internet, opening up to profound reflections on the "virtualization" of relationships, their growing importance in everyday life, and their role in education. Many authors argue that the Internet and the social media should no longer be considered as a tool to connect to a virtual reality that is separate from the real world, but as a place in which users live daily ([6][9][11][10]); consequently, they constitute one of the environmental situations mentioned by Bronfenbrenner. However, the risks deriving from the use of social media have been widely discusses in the literature ([7][8][12]). Adolescents are more exposed to the social media threats, since they are unable to perceive the profoundly different dynamics that govern offline and online networks. In this paper, having in mind the Bronfenbrenner's ecological systems theory of human development, we argue that the progressive adaptation of students to social media should be considered as a process of their growth and development. Furthermore, we analyze some corrections to be introduced in the educational paths of adolescents necessary to reduce the threats deriving from the use of social media and social networks in education. Reference Text and Citations [1] Bronfenbrenner, U. (1961). Toward a theoretical model for the analysis of parent-child relationships in a social context. In J. C. Glidewell (Ed.), Parental attitudes and child behavior (pp. 90-109). Springfield, IL: Charles C. Thomas. [2] Bronfenbrenner, U. (1973). Social ecology of human development. In F. Richardson (Ed.), Brain and intelligence: The ecology of child development (pp. 113-129). Hyattsville, MD: National Education Press. [3] Bronfenbrenner, U. (1974). Developmental research, public policy, and the ecology of childhood. Child Development, 45, 1-5. https://doi.org/10.2307/1127743 [4] Bronfenbrenner, U. (1994). Ecological models of human development. In T. Husen & T. N. Postlethwaite (Eds.), International encyclopedia of education (2nd ed., Vol. 3, pp. 1643-1647). Oxford, UK: Pergamon Press and Elsevier Science. [5] Bronfenbrenner, U., & Morris, P. A. (2006). The bioecological model of human development. In W. Damon (Series Ed.) & R. M. Lerner (Vol. Ed.), Handbook of child psychology: Theoretical models of human development (pp. 793-828). New York, NY: Wiley. [6] Carr, N. (2011). The Shallows: What the Internet Is Doing to Our Brains. New York: W.W. Norton & Company. [7] Livingstone, S., Haddon, L., G?rzig, A., & ?lafsson, K. (2011). Risks and safety on the internet: The perspective of European children. Full Findings. London: EU Kids Online, LSE. [Google Scholar] [8] Martin, F., Wang, C., Petty, T., Wang, W., & Wilkins, P. (2018). Middle school students' social media use. Journal of Educational Technology & Society, 21(1), 213-224. https://www.jstor.org/stable/26273881 [9] Musetti, A., Cattivelli, R., Giacobbi, M., Zuglian, P., Ceccarini, M., Capelli, F., et al. (2016). Challenges in internet addiction disorder: is a diagnosis feasible or not? Frontiers in Psychology, 7. doi: 10.3389/fpsyg.2016.00842 [10] Musetti, A., Cattivelli, R., Zuglian, P., Terrone, G., Pozzoli, S., Capelli, F., et al. (2017). Internet addiction disorder o internet related psychopathology? [Internet Addiction disorder or Internet Related Psychopathology?]. Giornale Italiano di Psicologia, 44, 359-382. doi: 10.1421/87345 [11] Taymur, I., Budak, E., Demirci, H., Akdag, H.A., Gungor, B.B., & Ozdel, K. (2016). A study of the relationship between internet addiction, psychopathology and dysfunctional beliefs. Computers in Human Behavior,61, 532-536. https://doi.org/10.1016/j.chb.2016.03.043 [12] Willoughby, M. (2018). A review of the risks associated with children and young people's social media use and the implications for social work practice. Journal of Social Work Practice,33(2), 127-140. https://doi.org/10.1080/02650533.2018.1460587