Articles de revues 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. 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The annual publication of the Theatre Library Association is designed “to gather and disseminate scholarly articles dealing with the location of resource materials” relating to all media as well as popular entertainments, the evaluation of those resources, and to include as well “monographs of previously unpublished original material.” The volumes are slim ones, so we should not expect coverage of the many theatre collections available to scholars and practitioners, but rather a highly selective series of essays reflecting the priorities of the Association or of the individual volume editors. This certainly appears to be the case here: the 1998 volume concerns itself with eighteenth- and nineteenth-century American pleasure gardens, whereas, after a publication hiatus of three years, the 2001 volume is focused around the acquisition, scope, and use of four major archives—those of the Joseph Papp/New York Shakespeare Festival and of Lucille Lortel in the New York Public Library of the Performing Arts, the Lawrence and Lee Theatre Research Institute at Ohio State University, and the holdings of the Weill—Lenya Research Center in New York. As a consequence, the tones of the two volumes are very different, as is their utility. The first volume appears to be directed toward a disinterested readership; the second addresses those who might actually use the particular collections.

In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.

On Saturday, 10 February, 1827, the Manchester Guardian announced the coming appearance of ‘the African Roscius’ at the Theatre Royal, Manchester. After referring to ‘his success in New York and in all the principal theatres in the United States’ and to his performances ‘in the Theatres Royal, Bath, Bristol, Brighton, Plymouth, Exeter, and upwards of fifty nights at the Royal Coburg Theatre, London, with universal approbation’, the notice states that he will spend one night in Manchester on his way to Edinburgh and Glasgow. A note in the Manchester Courier the following week (17.2.1827) emphasizes the adventurous nature of the theatrical event, telling the public that ‘the spirited manager of this establishment seems determined to spare no pains to render the theatre as attractive as circumstances will permit’. The attitude behind this retains a protective ambiguity towards the experiment.

The author considers her experience as the lighting designer for John Doyle’s production of the Stephen Sondheim and John Weidman’s musical Road Show at the Public Theater in New York City in 2008. She reflects on the experience of her life and career as an immigrant designer in the American theatre in relationship to the story of the musical, and relates her experience of the rehearsal and technical process of the production. The author considers her relationship to the American musical through the experience of designing this one particular Sondheim musical and explores various relationships to America, to the musical and to theatre in capitalism in the context of particular songs from the musical.

In Agonistics (2013), Chantal Mouffe highlights sociability and notes its potential for artists in devising agonistic counter-hegemonic performances. However, sociability as an isolated factor is unlikely to produce politicized dissent. Instead, therefore, a politicized form of conflictual sociability is created by applying Mouffe’s notion of a ‘conflictual consensus’ (an agreement between opponents to disagree) to art practice. By applying paradoxical thinking to the performance of dissent in the public realm, the article argues for sociability in service of politicized critique. The potential of conflictual sociability is examined through guerrilla street theatre performances, an artform with the capacity to generate unauthorized and participatory incursions into the urban public realm. Firstly, via autoethnographic reflections upon a practice-based research project, The Wizard of Oz (2015) performed in London, United Kingdom; and secondly, in analysis of Dread Scott’s Money to Burn (2010) performance in Wall Street, New York, United States. Conflictual sociability offers a novel methods-led process of engaging agonistically with passers-by (publics) and transforming them into activated participants. Because it is engaging, conflictual sociability creates spaces of public dialogue that antagonistic conflict potentially shuts down. This reveals an effective pedagogy for facilitating agonistic politicized dissent through performative practices in the public realm.

In 1874, a group of newsboys took on some of the wealthiest, most respected, and most powerful New Yorkers and emerged victorious. The Society for the Reformation of Juvenile Delinquents, a philanthropic organization that worked to guard public morals and championed Christian values, faced two challenges that year over the city's theatre licensing fee. Its prominent members and their financial power made the organization a formidable force in local city matters. As a result of the 1872 Act to Regulate Places of Public Amusement in the City of New York, theatre managers were required to pay $500 to the city for an operating license. The city gave the fees to the society, which it used to operate the city's House of Refuge. The society believed that theatres corrupted the city's youth and that, therefore, the theatres should help fund youth reform efforts. In its legal proceedings against theatres without licenses, the society typically targeted cheap entertainment establishments in poor neighborhoods. These playhouses “werenotparticularly powerful and presumably would not put up too strenuous a legal battle.”

Abstract Edith Wharton’s The Shadow of a Doubt, a play in three acts, has generated extensive publicity as well as interest in staged readings. Now, The Shadow of a Doubt has been completely professionally staged for the first time at the 2023 Shaw Festival’s Royal George Theatre in Niagara-on-the-Lake, Ontario. Director Peter Hinton-Davis sought to preserve Wharton’s original intentions as well as offer a new interpretation of this now modern classic. In early 1901, the play was already in rehearsal for a matinee with the Empire Theatre Acting Company, directed by Charles Frohman and starring Elsie De Wolfe. In his letters, Walter Berry asks how the rehearsals are going and gossips about De Wolfe. In addition, an actual promptbook from this 1901 production of The Shadow of a Doubt was located at the New York Public Library Billy Rose Theatre Division. This archival treasure shows the revisions to the play as it was in rehearsals and includes blocking and stage directions. This history suggests Wharton was an engaged playwright, attending rehearsals and participating in all aspects of the dramatic artistic experience.

In early January 2020, when Chinese theatre director Wang Chong (b. 1982) arrived in New York to remount his production of Nick Payne's Constellations for the Public Theater's Under the Radar Festival, he couldn't have predicted that this would be the last time for months that he would watch his actors from the middle of a full house. By the time his work-in-progress solo show, Made in China 2.0, opened at the Asia TOPA Festival in Melbourne, Australia, at the end of that February, it was clear that there would be no live theatre in Wang's hometown of Beijing for some time. All of China was on lockdown as the disease now tragically familiar as COVID-19 swept the country. Then, as Wang returned to Beijing in early March, businesses around the globe were shuttering, theatres were going dark, and theatre artists were confronting an unprecedented challenge to their personal safety, livelihoods, and ability to make meaningful art. In short order, some well-resourced theatre institutions began to stream performance recordings and reconfigure their seasons for online platforms. Only a month after returning home, Wang Chong joined this mass online movement with his production of Samuel Beckett's Waiting for Godot, streamed live on 5–6 April 2020 as Dengdai Geduo.

The study focuses on the export of Eugene Vakhtangov’s theatrical methodology to American stage practices. The problem is specifically discussed based on the the acting and directing activities of Vakhtangov’s follower Leonid Snegoff. He staged the play by the Soviet playwright Dmitry Scheglov “The Blizzard” (“Purga”) on Broadway in 1929. The deep interest in Russian theatrical ideas and systems (Konstantin Stanislavsky, Eugene Vakhtangov, Vsevolod Meyerhold and Michael Chekhov) of the US practitioners in the interwar period are explained. The main two reasons are the absence of national acting school and thus theatre pedagogy. The characteristic of the main ways for exporting Vakhtangov’s ideas overseas are provided. Among them – the theatre tours abroad, translation and publication of Soviet theatrical literature about Vakhtangov and his method, the stage activities of Russian emigrant actors who studied with the Master or by him (Richard Boleslavsky, Rouben Mamulyan, Benno Schneider, Miriam Goldina). Theatre activities of Snegoff are analyzed along with the organicity of the poetics and the idea of “The Blizzard” play according to stage realization in the course of the Vakhtangov school. A brief analysis of the main productions of Scheglov’s play on the Soviet stage of the 1920s – in the Leningrad studio “Proletarian Actor”, Leningrad State Bolshoi Dramatic Theatre – BDT, Moscow Drama Theatre (former Korsh Theatre) and Studio of the Moscow State Maly Theatre – allows us to make a conclusion about the most successful of them. They were presented not in a ultra-realistic and naturalistic way, but in a Vakhtangov way – theatrically and conditionally. The author presents the analysis of Vakhtangov theatre ideas overseas on the basis of materials from the collections of the New York Public Library for the Performing Arts, the Houghton Library (Harvard University), the Russian State Archive of Literature and Arts, as well as documents from the Museums of the Eugene Vakhtangov State Academic Theatre and the Chekhov Moscow Art Theatre.

Background: Media advertisements displaying aggression and violence in public transit spaces represent a public health concern. The high visibility of ads likely contributes to increased levels of aggression among New York City (NYC) youths traveling across boroughs. Given the importance of the physical, psychological and social environment in shaping the lives of youth, additional attention is warranted regarding how media advertisements are promoted within public transit spaces across America. The aim of this study was to document quantity and placement of advertisements illustrating aggressive and violent content throughout the NYC public transit subway system. Methods: This cross-sectional study was conducted over a five-day period in June 2017. Direct observation was used to document all advertisements within every NYC Metropolitan Transit Authority (MTA) subway station (N = 472) in four NYC boroughs: Bronx, Brooklyn, Manhattan and Queens. Static media advertisements with/without aggressive and violent content displayed on subway platform wall panels above and underground were counted, photographed and described with a mobile app. Results: Aggressive and violent ads in the MTA were pervasive. Subway platforms displayed advertising consisting of guns, individuals fighting and attacking, and words with aggressive language. Conclusion: Public transit spaces provide unregulated visual and verbal messages without citizen participation. Subway stations in NYC and across the country prohibition stance could be a model for violent content reduction. Given the pervasive and tragic effects of aggression and violence on youth and adults, transit agencies could inundate passengers with positive advertising content. Dialogue between citizens and transit agencies to remove noxious messages from public transit spaces warrants the same discussion given to banning alcohol advertisements.

Placing two innovative, high-profile stagings of Shakespeare in dialogue, this essay emphasises the power of re-citations, both as aural echoes and as tableaux, across dramatic genres. Building on Martin Luther King’s self-quotation within his anti-Vietnam address, it reveals how the Compagnia de’ Colombari’s site-specific The Merchant of Venice, performed in the originary Jewish Ghetto, and the New York Public Theater’s Julius Caesar, which created a national furore, each employed non-traditional casting and Shakespeare’s Act 4 emphasis on threatened yet suspended male-on-male violence to create complex political theatre, addressing historical ethnic and racial inequalities within ‘the fierce urgency of now’.

In October, the State University of New York at Buffalo launched the first International Women Playwrights Conference, bringing together over 300 women playwrights, theatre practitioners, and academics from all over the world. A hugely ambitious project, it was held over six days and combined workshops, staged readings, scholarly papers and panel discussions. Numerous Buffalo theatres mounted productions of plays written by women dramatists which ran throughout the conference. Although the first half of the conference was restricted to playwrights, the second half was open to the public. Given the theatrical and intellectual ferment the brochure offered, I, a non-playwright, eagerly registered for Session II.

Objective: Community stroke education is a regulated, integral component of stroke systems of care. However, little is known about the types of activities conducted by hospitals. This study was designed to examine the annual requirement for community stroke education among New York State’s 119 designated Primary Stroke Centres and identify areas for improvement that may have an implication on stroke outcomes. Design: Cross-sectional survey design Setting: All 119 New York State designated Primary Stroke Centres were invited to participate. Methods: Participating hospitals completed a 29-item online questionnaire assessing multiple domains related to community stroke education including hospital characteristics, allocated resources, implementation barriers, current community stroke education practices and willingness to adopt best practice guidelines. Data were analysed using univariate descriptive and chi-square statistics. Results: Eighty-eight percent of hospitals completed the survey (105/119). Respondents were mostly stroke coordinators and stroke directors. Stroke outreach education was conducted two to four times per year in 58% of the hospitals ( n = 69). Community stroke education included behavioural risk factor modification, the detection of stroke risk through screening and stroke preparedness education at health fairs. Although 95% of hospitals ( n = 98) reported using at least one best practice approach for these activities, evaluation was generally poor, with only about 23% ( n = 24) implementing outcome-specific assessments. Major barriers to stroke outreach were inadequate staffing, time constraints and lack of funding. Conclusion: Hospital-driven community stroke education efforts occur infrequently and are poorly evaluated. This component of stroke systems of care would benefit from guidelines from regulatory agencies, which currently do not exist.

ObjectiveDocument the use of ultraviolet watermark in counterfeit joint New York City/New York State cigarette tax stamps to assess the scale at which distributors of illegal cigarettes adapt to measures protecting the integrity of the system of tobacco tax collection.MethodsIn 2016, we collected 2357 empty discarded cigarette packs along a stratified random sample of block groups in New York City (n=114) and analysed 449 joint New York City/New York State tax stamps using long wave ultraviolet irradiation, light microscopy and taggant testers developed by the tax stamp manufacturer, Meyercord Revenue, to determine whether the tax stamps were counterfeit and how they differed from their genuine equivalent.Findings23% (n=102) of the joint NYC/NYS tax stamps examined were counterfeit. Subsequent investigation revealed that almost two-thirds (n=58) of the counterfeit sample bore ultraviolet watermark that closely resembled genuine tax stamps in terms of fluorescence, watermark colour and wording. However, microscopic findings revealed that counterfeit tax stamps mismatched the genuine ultraviolet watermark in regards to font style and word orientation.ConclusionCounterfeiters are using ultraviolet watermarks which makes it difficult to differentiate counterfeit joint New York City/New York State tax stamps from their genuine equivalent when UV irradiation is used as the sole screening tool. Innovations in counterfeiting technology may be the result of fluorescent ink being available for purchase in the mainstream market. Independent monitoring of trends in the illicit market for tobacco products is advised to keep apace of counterfeiting methods.

When Paper magazine attempted in 2014 to “break the Internet” (as its cover declared) by publishing French artist Jean-Paul Goude's photos of reality star Kim Kardashian brazenly displaying her infamous derriere, the public reprimands to Kardashian from fellow celebrities quickly zeroed in on an even more essentializing aspect of her identity. As actress Naya Rivera posted, “You're someone's mother.” Singer Lorde articulated Kardashian's transgression even more simply, retweeting the photos along with a single word that served as a hex: “mom.” The judgment of her female peers seemed to be that Kardashian, who gave birth to daughter North West in June 2013, should have known better than to flaunt her sexuality on the public stage now that she was a mother. Meanwhile, in a related realm, an American celebrity tabloid such as Us Weekly can generate annual advertising revenues of $403 million (that magazine's 2013 figure) with a profit model based on spectacularizing celebrity mothers and appraising their so-called “baby bumps.” Former US Weekly editor-in-chief Janice Min coined the term “Frankenmom” in a now-notorious 2012 New York Times article about the pressure she felt to regain her pre-pregnancy body after the birth of her third child. In that article, she paid penance for “our ideal of this near-emaciated, sexy and well-dressed Frankenmom” that she had helped create through celebrity journalism. (Kardashian's decision to pose nude in Paper was later explained by celebrity outlet TMZ as a gesture “to show the world how she bounced back after giving birth to North West.”) Despite the personal pressure she experienced as a mother, Min boasted that because of her magazine's focus on maternal bodies during her time as editor (2003–9), American novelist “Tom Wolfe once remarked, ‘the one thing that Us Weekly has done that's a great boost to the nation is, they've probably increased the birthrate.’”

Febriartha Dwi Wahyu Safitra1, Ni Kadek Yuni Utami 2, Ni Wayan Ardiarani Utami3 1,2,2Sekolah Tinggi Desain Bali, Denpasar,Bali - Indonesia e-mail: febrisafitra97@gmail.com1 A B S T R A C T Movie theater is one of public entertainment designed to give a good quality audio-visual and services to people who would like to spend their time to watch a movie. The purpose of this redesign is to increasing the quality of services provided into movie theater, also to attracting public interest of Indonesian movie world by serving a good facilities and accommodation of watching movie activities. The process of collecting information data by doing an observation to site location at the movie theater, and do an interviewed with one of the staff, also one of customer at the movie theater. The result of those observation will be analyzed using qualitative analyses method and glass box method by listing what people’s demand as for services and facilities should be provide at movie theater, to figuring what rooms that needed, as well as theme and concept for the design. The conclusion is Futuristic Entertainment applied as theme and concept at theater’s interior redesign has a hope will become the new face of the Movie Theater as of facing high business competition among movie theater industry also to calibrate the Industry 4.0 era where internet based at most of life aspect, nowadays. Key words : movie theater, movie, watching, services, public, Futuristic, Entertainment, redesign, interior A B S T R A K Bioskop merupakan salah satu tempat sarana hiburan untuk menonton film yang dirancang memberikan kualitas audio-visual yang baik dan kegiatan pelayanan dalam meningkatkan kenyamanan dalam menonton film. Tujuan dari redesain interior ini untuk dapat meningkatkan kualitas pelayanan pada bioskop, serta meningkatkan minat masyarakat untuk menghargai perfilman di Indonesia dengan memberikan fasilitas dan sarana yang baik dalam kegiatan menonton film. Proses pengumpulan data dilakukan dengan observasi ke lokasi site bioskop tersebut dan melakukan wawancara pada salah satu pegawai bioskop, serta salah satu pengunjung dari bioskop. Hasil dari observasi tersebut kemudian di analisa menggunakan metode analisa kualitatif dan metode desain glass box, dengan mendata pelayanan yang harus disediakan pada area bioskop, untuk mengetahui kebutuhan ruang, serta tema dan konsep dalam redesain interior. Simpulan redesain pada interior bioskop menggunakan tema dan konsep Futuristic Entertainment, yang mana dari tema dan konsep tersebut akan memberikan wajah baru untuk menghadapi persaingan bisnis bioskop yang semakin tinggi dan sekaligus menyesuaikan era Industry 4.0 sekarang, dimana Internet based pada hampir segala aspek kehidupan. Kata Kunci: bioskop, film, menonton, pelayanan, masyarakat, Futuristic, Entertainment, redesain, interior. PENDAHULUAN Di digital era seperti sekarang ini, menonton film menjadi salah satu pilihan sarana hiburan bagi masyarakat untuk melepas penat maupun kebosanan akan rutinitas sehari-hari. Cerita-cerita dalam film dapat diadaptasi dari novel, dokumentasi ilmiah, autobiografi, sejarah dari sebuah peristiwa, maupun dari kisah nyata seseorang yang menarik untuk diangkat ke dalam sebuah film, sehingga sebuah film pun juga dapat menjadi media visual informasi bagi masyarakat luas. Sekarang ini bioskop sebagai tempat pemutaran film-film sudah banyak tersebar di seluruh wilayah Indonesia. Hal ini dilihat dari jumlah layar bioskop yang semakin bertambah, sekaligus berpengaruh pada pertambahan jumlah penonton Indonesia. Menurut data GPBSI (Gabungan Pengusaha Bioskop Indonesia), jumlah layar bioskop di Indonesia terus bertambah dalam dekade terakhir, pada tahun 2008 tercatat ada 574 layar, kemudian terus bertambah menjadi 1518 layar pada 2017, bertambah lagi menjadi 1774 pada 2018, dan hingga pada per 13 Mei 2019, bertambah 87 layar, sehingga total jumlah menjadi 1861 layar bioskop. Di Kota Madiun sendiri terdapat 2 bioskop yang beroperasi yaitu New Star Cineplex (NSC) Timbul Jaya Plaza dan CGV*Blitz, dari kedua bioskop terdapat perbedaan dari segi fasilitas, jumlah pengunjung bioskop, dan juga desain yang diterapkan. Berdasarkan data survey pengunjung pada Goggle Trend yang diambil dari bulan September – November 2019, menunjukkan perbedaan signifikan jumlah pengunjung antara bioskop NSC Timbul Jaya Plaza Madiun dengan bioskop CGV*Blitz, dimana jumlah pengunjung di bioskop NSC Timbul Jaya Plaza cenderung lebih rendah dari bioskop CGV*Blitz. Gambar 1. Data perbadingan jumlah pengunjung bioskop [Sumber : Google Trend, 2019] Kurang nya pembaharuan dari segi fasilitas dan desain pada interior bioskop NSC Timbul Jaya Plaza Madiun juga menjadi salah satu faktor sepinya pengunjung pada bioskop. Gambar 2. Keadaan eksisting bioskop NSC Timbul Jaya Plaza Madiun [Sumber : dokumentasi pribadi, 2020] Maka dari itu di dalam makalah ini akan dibahas redesain interior dari bioskop dengan menggunakan tema dan konsep Futuristic Entertainment yang bertujuan memberikan suasana baru pada bioskop untuk menghadapi persaingan bisnis bioskop yang semakin ketat seiring pertumbuhan jumlah layar bioskop yang semakin meningkat setiap bulannya dan era Industry 4.0 yang semakin canggih, selain itu pembaharuan dari segi desain dan hiburan dapat menarik perhatian pengunjung untuk datang ke bioskop NSC ini. METODE PENELITIAN 2.1 Metode Pengumpulan Data Terdapat dua data pada metode ini, yaitu Data Primer dengan dilakukan pengumpulan informasi-informasi melalui wawancara pada salah satu staff bioskop dan salah satu pengunjung bioskop. Data Sekunder dengan mengumpulkan data informasi dari berbagai sumber referensi akurat. Metode ini diyakini dapat memberikan data yang akurat, dan dapat memberikan gambaran jelas permasalahan pada bioskop. 2.2 Metode Analisa Data Metode Analisa Data pada redesain ini menggunakan metode kualitatif. Metode dengan pendekatan kualitatif merupakan metode penelitian yang di gunakan untuk meneliti pada populasi atau sampel tertentu, pengumpulan data menggunakan instrument penelitian, analisis data bersifat deskripsi. Metode penelitian kualitatif sering disebut metode penelitian naturalistik karena penelitianya di lakukan pada kondisi yang alamiah (natural setting). Dimana untuk hasil desainnya lebih bersifat umum, fleksibel serta berkembang dan muncul dalam proses penelitian. Kesimpulannya desain hanya digunakan sebagai asumsi untuk melakukan penelitian sehingga desain harus bersifat fleksibel dan terbuka. 2.3 Metode Desain Metode yang digunakan pada redesain ini yaitu metode glass box, dimana metode yang menggunakan parameter yang terukur, sesuai dengan fakta dan telah dianalisisa secara mendalam serta sistematis. Sehingga metode desain menggunakan sistem ini hasilnya diharapkan mampu rasional sehingga memenuhi standar kenyamanan. HASIL DAN PEMBAHASAN 3.1 Lokasi Site Bioskop ini berlokasi di Jalan Pahlawan Kav. 46 – 48, Mangu Harjo, Kota Madiun. Untuk akses ke bioskop tersebut sangatlah mudah, karena bangunan Timbul Jaya Plaza sendiri berada tepat dipinggir jalan raya dan berada di tengah kota Madiun sebagai pusat perekonomian kota tersebut sehingga mudah untuk ditemukan. Dari lokasi tersebut dapat dihasilkan data berupa eksisting dari bioskop tersebut. 3.2 Tema dan Konsep Menentukan tema dan konsep merupakan langkah awal dalam meredesain suatu interior. Hal ini akan memberikan gambaran yang jelas suatu ruangan dari segi bentuk, warna, dan material yang akan digunakan, sehingga memiliki visual yang menarik. Tema yang diaplikasikan pada redesain ini adalah Futuristic, Futuristik sendiri merupakan tema desain yang berorientasi pada masa depan, dengan banyak menggunakan bentukan yang tidak lazim, dan jarang diterapkan pada furniture pada umumnya. Dalam tema futuristik yang akan diterapkan pada redesain ini memiliki karakteristik dan ciri-ciri tersendiri, seperti tampilan artistik namun memiliki bentuk sederhana, elegant modern, dan dengan nuansa ruangan yang penuh dengan permainan lampu. (a) (b) Gambar 3. (a) Ruangan tema futuristic (b) aksen garis lampu pada garis pada furniture futuristic [Sumber : pinterest, 2020] Konsep yang diplikasikan pada redesain ini adalah Entertainment. Konsep ini mengambil elemen dari bioskop ini sendiri yaitu sebagai tempat hiburan yang sekaligus memberikan kesan dan pengalaman terbaik untuk menonton film bagi pengunjungnya. Dari tema dan konsep akan muncul suatu skema warna yang akan banyak diterapkan pada interior, yaitu cyan, hitam dan putih. Untuk material, banyak akan diterapkan menggunakan bahan stainless steel, aluminium, dan kaca tempered glass. 3.3 Scheme Color Dalam setiap konsep desain ruangan, terdapat warna-warna yang akan secara dominan muncul dalam pengaplikasiannya. Pada tema ini akan memiliki skema warna : Gambar 4. Scheme Color Redesain Bioskop New Star Cineplex Timbul Jaya Plaza Madiun [Sumber : dokumentasi pribadi, 2020] 3.4 Visualisasi tema dan konsep Tema dan konsep yang akan diterapkan pada interior adalah Futuristic Entertainment pada bagian lantai, dinding, ceiling/plafond, furniture, ruangan, dan fasilitas pada bioskop. Lantai Area lantai bioskop yang akan diterapkan adalah lobby bioskop dan area ruang teater. a) Lobby Gambar 5. Lantai Karpet [Sumber : dokumentasi pribadi, 2020] Pada bagian lobby bioskop, diaplikasikan karpet sebagai lapisan penutup lantai, dan aksen garis lampu untuk futuristic look yang mengelilingi area ruangan lobby, selain sebagai aksen, penggunaan garis ini berfungsi sebagai garis emergency ketika keadaan darurat terjadi, yang akan menyala untuk menuntun pengunjung ke arah pintu keluar. b) Ruang Teater Gambar 6. Lantai Ruang Teater [Sumber : dokumentasi pribadi, 2020] Area ruang teater diberikan lapisan karpet tile, dengan hidden lamp pada bagian tangga teater. Hidden lamp pada tangga selain berfungsi sebagai penunjuk jalan bagi penonton, sekaligus sebagai lampu emergency, penunjuk jalan ketika dalam keadaan darurat. Dinding Area yang akan diterapkan yaitu pada dinding lobby, ruang tunggu dan ruang teater. a) Lobby Gambar 7. Dinding Lobby [Sumber : dokumentasi pribadi, 2020] Dinding lobby menggunakan bentuk yang simetris, asimetris dan banyak menggunakan permainan hidden lamp untuk menyesuaikan konsep futuristik pada ruangan. b) Ruang Tunggu Gambar 8. Dinding Ruang Tunggu [Sumber : dokumentasi pribadi, 2020] Pada area dinding ini di aplikasikan bentuk simetris organic berbentuk honeycomb, bentuk ini menjadi focal point di salah satu sudut area ruang tunggu sebagai futuristic look. c) Ruang Teater Gambar 9. Dinding Ruang Teater [Sumber : dokumentasi pribadi, 2020] Dinding pada ruang teater, diterapkan backdrop untuk menambah kesan futuristik dalam ruangan, dan sebagai menambah pencahayaan ruangan. Ceiling/Plafond Area yang diterapkan yaitu pada lobby, ruang teater, dan lorong Exit Ruang Teater 2. a) Lobby Gambar 10. Plafond Ruang Lobby [Sumber : dokumentasi pribadi, 2020] Pada area lobby menggunakan drop ceiling yang terdapat hidden lamp di dalamnya mengelilingi lampu gantung. Penggunaan ceiling ini untuk memberikan tambahan pencahayaan dan menambah estetika futuristik pada ruangan. b) Ruang Teater Gambar 11. Plafond Ruang Teater [Sumber : dokumentasi pribadi, 2020] Ceiling pada area bioskop terdapat lampu pada setiap garis nya untuk memberikan futuristic look pada ruangan. Selain itu ceiling pada area ini sedikit diberikan bentuk lengkungan sebagai pengatur akustik audio ruangan. c) Lorong Exit Teater 2 Gambar 12. Plafond area lorong exit teater 2 [Sumber : dokumentasi pribadi, 2020] Area lorong exit diaplikasikan plafon kaca dengan ceiling yang tinggi, ukuran ruang lorong yang sempit, tidak ingin memberikan kesan claustrophobic pada pengunjung sehingga penggunaan plafond kaca memberikan kesan ruang yang lebih lapang, dan banyak penggunaan permainan lampu untuk memberikan daya tarik pada pengunjung. Furniture Gambar 13. Bentuk Desain [sumber : dokumentasi pribadi, 2020] Furniture pada area lobby memiliki bentuk yang berbeda dan memiliki bentukan yang simple. Furniture pada konsep ini banyak menggunakan LED strip yang mengikuti garis bentuknya, selain sebagai penambahan pencahayaan pada ruangan, sekaligus menambah estetika pada ruangan. Ruangan Bioskop Salah satu ruangan yang diterapkan tema dan konsep ini yaitu area lorong exit teater 2. Gambar 14. Area Lorong Exit Teater 2 [sumber : dokumentasi pribadi, 2020] Permainan lampu dan penempatan permainan cermin pada ruangan, untuk memberikan suasana fun dan eye catching pada para pengunjung, sehingga menjadi daya tarik tersendiri bagi pengunjung. Fasilitas Bioskop Fasilitas ini sebagai pelayanan yang diberikan oleh bioskop kepada pengunjung yang datang. a) Penggunaan teknologi terbaru pada bioskop. (Proyektor NEC NC3200S) Pengaplikasian proyektor versi ini akan memberikan kualitas gambar video 2K – 4K dan kontras warna yang jernih, sehingga akan memanjakan mata para penonton film. b) Audio berkualitas Dolby Atmos Pengaplikasian audio berkualitas Dolby Atmos akan memberikan kualitas suara yang lebih jernih, dan tampak realistis, sehingga memberikan pengalaman menonton yang menyenangkan. c) Fasilitas pendukung yang berbasis Smart Technology Pengaplikasian fasilitas yang telah mendukung Smart Technology selain mempermudah aktivitas agar lebih efisien, juga akan menarik pengunjung untuk datang, mencoba fasilitas baru yang belum pernah mereka coba. d) Online Based and Self-Service activity Pada era industry 4.0 sekarang ini, hampir segala aspek kegiatan sehari-hari barbasis pada internet, dan online dimana hal ini dimaksudkan untuk mempermudah kegiatan masyarakat agar lebih efisien. Dari keunggulan tersebut juga dapat diterapkan pada fasilitas hiburan publik seperti pada bioskop. Pemesanan tiket film tidak perlu lagi harus datang mengantri ke bioskop, cukup memesan tiketnya via online. Jika pun tidak sempat memesan tiket online bisa langsung memesan tiket on the spot, dengan self-service pada ticket box, yang telah disediakan layanan pemesanan tiket. Selain pelayanan pemesanan tiket film, kegiatan ini juga akan diterapkan pada pemesanan makanan di cinema café. Pengunjung dapat memesan makanan secara online melalui aplikasi sebelum menonton, ataupun on the spot. Sistem pembelian on the spot memiliki 2 cara, yaitu memesan sebelum menonton, atau ketika sedang menonton film. Pesan makanan sebelum menonton dapat dilakukan di cinema café dengan sistem self-service, pemesanan ketika sedang menonton dapat dilakukan melalui layanan customer service yang di install pada setiap kursi penonton, layanan ini terhubung langsung pada cinema café yang nantinya akan dibawakan makanan/minuman nya ke dalam ruang teater oleh pegawai cinema café. Material Bahan Material yang digunakan disesuaikan dengan tema dan konsep yang akan diterapkan pada bioskop. Penggunaan material logam seperti stainless steel, aluminum, dan besi banyak digunakan pada ruang interior, hal ini untuk memberikan kesan glossy pada ruangan. (a) (b) (c) Gambar 15. (a) Aluminum (b) Stainless Steel (c) Besi [Sumber : google, 2020] Selain itu penggunaan bahan kaca tempered glass dan cermin untuk memberikan reflective, bersih, sederhana, dan elegan. (a) (b) Gambar 16. (a) Kaca Tempered Glass (b) Kaca Cermin [Sumber : google, 2020] Lalu adanya penambahan material akustik, seperti rockwool dan gypsum digunakan pada area ruang teater sebagai pengaturan akustik pada ruangan. (a) (b) Gambar 17. (a) Kaca Tempered Glass (b) Kaca Cermin [Sumber : google, 2020] 3.5 Branding Branding pada New Star Cineplex ini bertujuan untuk mengenalkan desain logo baru pada bioskop ini, dengan tampilan yang berbeda dengan dengan sebelumnya menyesuaikan dengan konsep baru pada bioskop. Logo (a) (b) Gambar 18. (a) Logo Before (b) Logo After [Sumber : dokumentasi pribadi, 2020] Desain dari logo baru ini menyesuaikan dengan tema yang diterapkan pada ruang bioskop, yaitu futuristik dengan skema warna hitam, putih dan cyan. Font pada “New Star” dan “Cineplex” dirubah untuk mendukung tema menjadi lebih modern. Bentuk bintang dari logo sebelumnya masih tetap dipertahankan dan sedikit diberikan pembaharuan dari segi warna logo, untuk identitas diri dari bioskop tersebut. Tiket Film Gambar 19. Desain tiket bioskop [Sumber : dokumentasi pribadi, 2020] Desain tiket film ini terinspirasi oleh desain tiket film yang ada di Korea Selatan. Setiap tiket film terdapat gambar poster dari film yang ingin ditonton, bertujuan sebagai kenang-kenangan dan menambah daya tarik pecinta film bioskop yang gemar mengoleksi tiket film yang sudah ditonton. Interface pada aplikasi online Gambar 20. Interface pada aplikasi online [Sumber : dokumentasi pribadi, 2020] Pada desain aplikasi bioskop ini menyesuaikan dengan tema pada bioskop, sehingga dibuat simple agar mudah pengoperasian nya oleh masyarakat. 3.6 Hasil Desain Berikut beberapa hasil desain penerapan dari tema dan konsep pada bioskop Façade Gambar 21. Façade bioskop [Sumber : dokumentasi pribadi, 2020] Lobby Gambar 22. Lobby bioskop [Sumber : dokumentasi pribadi, 2020] Ruang Teater Gambar 23. Ruang Teater [Sumber : dokumentasi pribadi, 2020] Lorong Exit Teater 2 Gambar 24. Ruang Teater [Sumber : dokumentasi pribadi, 2020] SIMPULAN Bioskop New Star Cineplex (NSC) Timbul Jaya Plaza kota Madiun, bioskop ini berada di area pusat perbelanjaan (mall), dimana NSC merupakan salah satu tenant yang menjadi pendukung perputaran ekonomi pada area mall tersebut. Sayang, kurangnya minat pengunjung untuk datang ke bioskop, sedikit menghambat perputaran tersebut. Persaingan akan bisnis tempat pemutaran film semakin ketat, dimana setiap bulannya jumlah bioskop semakin bertambah dan hal ini menjadi tantangan bagi pengusaha bisnis bioskop untuk tetap mempertahankan usahanya. Maka dari itu, dari pihak pengelola harus tetap terus melakukan inovasi, perawatan, dan peningkatan fasilitas yang terdapat pada bioskop. Selain itu penerapan konsep Futuristic Entertainment ini bertujuan memberikan fasilitas hiburan yang bernuansa masa depan, sehingga dapat mengimbangi persaingan bisnis tempat bioskop yang semakin berkembang setiap bulannya. Apalagi di era Industry 4.0 sekarang ini dimana segala aspek didasari oleh teknologi internet dan online harus dapat diterapkan dalam segala hal, termasuk pada bioskop sebagai media hiburan masyarakat untuk memperluas jangkauan nya. DAFTAR PUSTAKA A. Wicaksono, D. Kharisma, dan S. Sastra. Ragam Desain Interior Modern. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2014. A. Wicaksono, dan E. Tisnawati. Teori Interior. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2014. P. Satwiko. Fisika Bangunan 1. Yogyakarta: CV Andi Offset. 2004. L. Doelle. 1972. Environmental Acoustics. New York, NY: Reprinted with permission from McGraw-Hill Book Company. 1972. W. Swasty. A-Z Warna Interior: Rumah Tinggal. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2010. V. Leiwakabessy. 2013. “LANDASAN KONSEPTUAL PERENCANAAN DAN PERANCANGAN CINEMA AND FILM LIBRARY DI YOGYAKARTA, no. 3, http://e-journal.uajy.ac.id/3395/3/2TA13281.pdf, (Diakses pada 11 Desember 2019) Tim CNN Indonesia. 2019. “Jumlah Layar Bioskop Indonesia Mulai Kejar Korea Selatan”, Jakarta, 16 Mei. https://www.cnnindonesia.com/hiburan/20190516152929-220-395469/jumlah-layar-bioskop-indonesia-mulai-kejar-korea-selatan, Diakses pada 11 Desember 2019) Dekoruma, Kania. 2018. “8 Ciri Desain Futuristik, Gaya Desain Interior Masa Depan” Jakarta, 27 April. https://www.dekoruma.com/artikel/66939/gaya-desain-futuristik, (Diakses pada 11 Desember 2019) D. Agasbrama. 2014. “Konsep Desain Interior Futuristik” Jakarta, 15 Mei, https://interiorudayana14.wordpress.com/2014/05/15/konsep-desain-interior-futuristik/, (Diakses pada 11 Desember 2019) N. Khmairah, S. Wahyuning. 2017. “KAJIAN KARAKTERISTIK PENCAHAYAAN BUATAN PADA BIOSKOP (STUDI KASUS : CINEMACITRA XXI,MALL CIPUTRA,KOTA SEMARANG)” MODUL 17, no. 1(2017): 75-77. http://dx.doi.org/10.14710/mdl.17.2.2017.75-77, (Diakses pada 11 Januari 2020

(N Engl J Med. 388;21. doi: 10.1056/NEJMp2301278) The US court case Dobbs v. Jackson Women’s Health Organization removed the constitutional right to abortion. Currently, 13 states ban abortion with few exceptions, while other states have enacted certain restrictions around abortion. This, coupled with new legislation frequently being introduced that further restricts access to abortions, has made it very difficult for people searching for abortion information or services.

Access to safe, clean water and sanitation is globally recognized as essential for public health. Public toilets should be accessible to all members of a society, without social or physical barriers preventing usage. A public toilet facility’s design and upkeep should offer privacy and safety, ensure cleanliness, provide required sanitation-related resources, and be gender equitable, including enabling comfortable and safe management of menstruation. Menstrual hygiene management (MHM) refers to the need to ensure that girls, women and all people who menstruate have access to clean menstrual products, privacy to change the materials as often as needed, soap and water for washing the body as required, and access to facilities to dispose of used materials. Challenges around menstruation faced by people experiencing homelessness, which tend to be greater than those facing the general population, include inadequate toilet and bathing facilities, affordability issues around menstrual products, and menstrual stigma. Public toilets are a vital resource for managing menstruation, particularly for vulnerable populations without reliable access to private, safe, and clean spaces and menstrual products. This mixed-methods study sought to: 1) understand the lived experiences of MHM among people experiencing homelessness in New York City with respect to public toilets; 2) describe general and MHM-related characteristics of public toilets in high need areas of Manhattan and analyze their interrelationships; and 3) examine the associations among neighborhood-level demographics and the public toilet characteristics in those areas. Qualitative methods included key informant interviews (n = 15) and in-depth interviews (n = 22) with people with experience living on the street or in shelters, which were analyzed using Malterud’s ‘systematic text condensation’ for thematic cross-case analysis. Quantitative methods included audits and analyses of public toilet facilities (n = 25) using traditional statistics (e.g., Spearman’s correlations) and spatial analyses (e.g., proximity buffers). Qualitative findings suggest cleanliness, access to restrooms, and availability of resources are critical issues for the participants or prospective users. Quantitative analyses revealed insufficiently provided, maintained, and resourced public toilets for managing menstruation in high-needs areas. Findings also suggest that toilets with more MHM-related resource availability, such as menstrual products and toilet stall disposal bins, were more difficult to access. Neighborhood-level characteristics showed a potential environmental injustice, as areas characterized by higher socioeconomic status are associated with more access to MHM-specific resources in public restrooms, as well as better overall quality.

It’s not as if we hadn’t always been bad girls; it was just that nobody really noticed until we brought an American bad girl in to play ... After two shows by New York lesbian performance artist Holly Hughes (6 and 7 June 1994), Kelley Charlebois, executive assistant to the Minister for Alberta Community Development, said: “I don’t think that’s something the Government wants to be funding” (Calgary Sun, 26 June 1994: 12). Charlebois’s comment came after several enraged Tory MLAs suggested that the provincial government pulled the $16 million annual arts budget if controversial shows continued to be funded. For Maenad Theatre, who in the last financial year received about 0.06% of this provincial arts funding allocation (and this was one of our more successful years!!), it was more than a little baffling to be perceived as a threat to family values. For Holly Hughes, this was tired news: she, after all, had been defunded in 1991 by the NEA since, as then-Chairman John E. Frohnmayer said, her work was “heavily of the lesbian genre” (Hughes, Village Voice, 21 June 1994: 7). What seems most telling in this story, however, is that when Maenad Theatre’s Exposure One and Two performance events were held up to public scrutiny, all they could see from the two nights, showcasing performances by ahdri zhina mandiela, Molly Chisakaay, Lori Weidenhammer, Nancy Cullen, Diane Kooch, Suzette Mayr, Laurie Montemurro and Alexandria Patience, was the only American – Holly Hughes.

Purpose: To describe the presence of licensed tobacco retailers (LTRs), cigarette advertisements, price-reducing promotions, and compliance with tobacco control policies in New York State from 2004 to 2015 and to discuss implications and lessons learned from 11 years of experience conducting LTR surveys. Design: Annual surveys of tobacco advertising from cross-sectional, stratified random samples of LTRs in New York State from 2004 to 2015 were conducted by professional data collectors. Data for 2013 were unavailable as the survey was not fielded in that year. Setting: New York State. Participants: Licensed tobacco retailers, which are stores licensed to sell tobacco in the state of New York. Between 3.6% (n = 800) and 19.7% (n = 3945) of all LTRs were sampled annually. Measures: The presence and number of cigarette advertisements and the presence of price-reducing promotions, required age-of-sale signage, and self-service tobacco displays were documented. Analysis: We tested for significant differences between 2014 and 2015 and significant trends overall and by outlet type. We used logistic regression for binary outcomes and Poisson regression for count variables. Results: The number of LTRs in New York State decreased 22.9% from 2004 (n = 25 740) to 2015 (n = 19 855). The prevalence and number of cigarette advertisements and the prevalence of cigarette price-reducing promotions decreased significantly over time. Compliance with posting required age-of-sale signs increased significantly from 2004 to 2015 and from 2014 to 2015. Compliance with the ban on self-service tobacco displays was consistently near 100%. Conclusion: The tobacco retail environment in New York State improved substantially from 2004 to 2015. The implications of these findings for youth and adult smoking and the associated social costs are unknown; however, decreases in pro-tobacco marketing, decreases in the number of LTRs, and improvements in compliance are likely to have positive impacts on youth and adult smoking outcomes, such as reduced initiation and increased cessation, given previous research findings.

ABSTRACT In a 1938 hearing with the House Un-American Activities Committee (HUAC), director Hallie Flanagan claimed that the U.S. Federal Theatre Project (FTP) (1935-9), which she led, disseminated “propaganda for democracy.” In this paper, I explore the possibilities of propaganda for democracy to describe FTP rhetoric. My focus is a body of work that greatly concerned HUAC. Living Newspapers were full-length, documentary plays about hot-button issues. At the New York Living Newspaper Unit (NYLNU), where journalists and theatre-makers worked side-by-side, Living Newspapers wove original reporting into dramatic narratives. Using theatrical conventions, they reimagined democratic communication for a mass society. My case study is the NYLNU’s most popular Living Newspaper. “One-Third of a Nation” was most explicitly about the lack of affordable housing across the U.S. It was also, however, about how to participate in democratic life. More specifically, it was about how to look at, listen to, and speak up about social issues. One-Third of a Nation addressed these themes by way of two recurring characters: a resounding Loudspeaker, and a plucky Little Man who represented the “average” citizen. Their interplay modeled propaganda for democracy as a dynamic relationship between responsive mass media and self-conscious public speech.

When Harley Granville Barker was invited to stage a theatre season in New York following the outbreak of the First World War, senior figures within British politics seized on it as an opportunity to promote the British war effort in the United States. It was, however, Barker's impromptu decision to extend his stay and tour Euripides’ The Trojan Women to major colleges on the East Coast that saw him come close to realizing this goal. Through an examination of the production, the discourse that surrounded it, and the changing diplomatic relations between Britain and the USA, Philippa Burt explores in this article the extent to which Barker used Euripides as a propaganda tool through which to engage and educate the largely isolationist North American public. At the same time, she argues that Barker challenged the propaganda machine by refusing to perpetuate the dominant nationalistic and xenophobic narratives and, instead, intended a condemnation of all war. Philippa Burt is a lecturer in the Department of Theatre and Performance at Goldsmiths, University of London. Her previous publications include numerous articles and a chapter on Barker's work with choruses in the forthcoming The Great European Stage Directors, Vol. 4: Reinhardt, Jessner, Barker (Bloomsbury Methuen).

In the late 1990s, the endlessly reinvented Shakespeare has apparently become a popular and successful screenwriter. The recent release of Richard III, William Shakespeare's Romeo + Juliet, Twelfth Night and Hamlet have brought an enthusiastic movie-going public to see, among other things, the Capulets and the Montagues on the beach and Hamlet striding through a cast of thousands at Elsinore. But this is not to suggest that this particular genre success is either new or inappropriate; the collection of artifacts known as Shakespeare (including but not limited to the plays themselves) has long signified as high art dedicated to the education of not just a theatre-going elite nor the mass audiences of popular media, but everyone. On a global scale, Shakespeare means culture or, as Michael Bristol would more wittily have it, Shakespeare is “big time.” This history of the cultural capital that is Shakespeare continues to have a fascination for, and a usefulness to the producers and distributors of films. Thus, to turn Shakespeare from playwright to screenwriter is, culturally speaking, both a pragmatic and predictable strategy. And it is a strategy that has more or less existed as long as film itself.

Despite evidence-based guidelines that advocate for dental care during pregnancy, dental utilization among pregnant women remains low, especially among low-income and racial–ethnic minority women. We investigated self-reported dental care referral and self-reported dental care attendance among a group of 298 low-income, largely racial–ethnic minority pregnant women attending two suburban prenatal care clinics that had integrated dental care referrals into their prenatal care according to these guidelines. We administered a questionnaire that asked women: (1) whether they had been referred for care by their prenatal care provider; (2) whether they had been seen by a dentist during pregnancy. Among those women who were eligible for a dental care referral (those who reported having dental symptoms, and those not having a recent dental visit), we found that 73.0% reported that they had indeed been referred for dental care by their prenatal provider, while the remaining women reported either no referral (23.5%, n = 67) or were not sure whether they had been referred (3.5%, n = 10). Among those who reported a dental care referral, 67.3% (n = 140) reported that they saw a dentist during their pregnancy, while of those who reported no dental care referral only 35.1% (n = 27) reported a dental visit (Chi-Sq. = 24.1, df = 1, p < 0.001). Having received a dental referral was a significant predictor of reporting a dental visit during pregnancy, with women who received a referral being 4.6 times more likely to report a dental visit during pregnancy compared to those women who did not report a referral. These results demonstrate that vulnerable pregnant women referred for dental care by their prenatal provider will indeed seek and utilize dental care when offered. This dental referral program may serve as a model for improving the utilization of dental care among this population.

A questionnaire, designed to determine the process for identifying and providing assistance to students who demonstrate a variety of problem behaviors that interfere with learning or co-curricular performance in school, was mailed to school superintendents ( N = 1526) in Connecticut, New Jersey, and New York. Four hundred and fifty-one responses (29.6%A) were received; the majority (84.7%) indicated that a formal written policy exists for helping students and most (82.5%) also have a formal written procedure. The assistance program, most frequently called student assistance, is predominantly found at high school level. A full-time student assistance counselor paid by the school district (43.2%) or a grant funded position (18.9%) conducts the program. Students in the three states use the services of the program for alcohol problems, drug problems, family problems, school behavior problems, academic problems, etc. The major referral sources to the assistance programs are teachers, guidance counselors, and the students themselves. The survey findings indicate that assistance programs for students in Connecticut, New Jersey, and New York play a significant role in helping students who are experiencing problems and also positively impact on the school and the community.

A self-administered anonymous waiting room survey was used to evaluate men’s preferences on testing, notification, and treatment for sexually transmitted infections (STIs) in a community clinic in Upper Manhattan in 2007. Sixty-seven percent of eligible men ( n = 199) participated. Most were willing to collect a urine sample at home (71%, n = 140) or at the clinic (87%, n = 171). Respondents preferred learning of a positive STI test result by phone (67%, n = 123). However, men were willing to receive results by text (65%, n = 127) or e-mail (61%, n = 121). Most (83%, n = 162) reported they would be (very) likely to take STI medication brought to them by a partner. Twenty-one percent reported previous gonorrhea or Chlamydia infection ( n = 41). Of these, 39% ( n = 16) had received medication to bring their partner, and almost all ( n = 14/16) reported their partner took the medicine. Multiple options for STI testing, notification, and treatment are recommended to maximize service use among men, including providing patient-delivered partner therapy.

Objectives: The care cascade, a method for tracking population-level progression from diagnosis to cure, is an important tool in addressing and monitoring the hepatitis C virus (HCV) epidemic. However, little agreement exists on appropriate care cascade steps or how best to measure them. The New York City (NYC) Department of Health and Mental Hygiene (DOHMH) sought to construct a care cascade by using laboratory surveillance data with clinically relevant categories that can be readily updated over time. Methods: We identified all NYC residents ever reported to the DOHMH surveillance registry with HCV through June 30, 2017 (n = 175 896). To account for outmigration, death, or treatment before negative RNA results became reportable to the health department, we limited the population to people with any test reported since July 1, 2014. Of these residents, we identified the proportion with a reported positive RNA test and estimated the proportion treated and cured since July 2014 by using DOHMH-developed surveillance-based algorithms. Results: Of 78 886 NYC residents ever receiving a diagnosis of HCV and tested since July 1, 2014, a total of 70 397 (89.2%) had ever been reported as RNA positive through June 30, 2017; 36 875 (46.7%) had initiated treatment since July 1, 2014, and 23 766 (30.1%) appeared cured during the same period. Conclusion: A substantial gap exists between confirming HCV infection and initiating treatment, even in the era of direct-acting antivirals. Using this cascade, we will monitor progress in improved treatment and cure of HCV in NYC.

Purpose: To understand the tobacco acquisition practices of low-income smokers in New York State in light of high cigarette prices due to high cigarette taxes. Design: Eight focus groups with low-income smokers were conducted in spring 2015 and 2016 (n = 74). Setting: New York City (NYC) and Buffalo, New York. Participants: Low-income adults aged 18 to 65 who smoke cigarettes regularly. Method: Qualitative analysis of focus group transcripts that explored differences and similarities by region. We used the interview guide—which covered the process of acquiring cigarettes and the impact of cigarette prices—as a framework for analysis to generate themes and subthemes (deductive coding). We also generated themes and subthemes that emerged during focus group discussions (inductive coding). Results: Some smokers in Western New York have switched to untaxed cigarettes from Native American reservations, whereas low-income smokers in NYC described convenient sources of bootlegged cigarettes (packs or loosies) in their local neighborhood stores, through acquaintances, or on the street. Familiarity with the retailer was key to accessing bootlegged cigarettes from retailers. Conclusions: Smokers in this study could access cheaper cigarettes, which discouraged quit attempts and allowed them to continue smoking. The availability of lower priced cigarettes may attenuate public health efforts aimed at reducing smoking prevalence through price and tax increases.

The decree of the President of the Russian Federation declared 2019 as the Year of Theatre. Libraries traditionally participate in promotion of theatre art, provide their places for plays, hold art meetings, organize theatre clubs, and use theatrical tools in club activities to hold public events. The article objective is to identify and characterize types, forms, orientation, and specifics of cultural, educational, and leisure activities implemented by the central universal scientific libraries of the Siberian Federal district (SFD) as part of the Year of Theater. 10 central libraries were chosen to be analyzed: Altai Regional Universal Scientific Library named after V. Y. Shishkov (Barnaul), Irkutsk Regional State Universal Scientific Library named after I. I. Molchanov- Sibirsky, State Scientific Library of the Kuzbas named after V. D. Fedorov (Kemerovo), Krasnoyarsk Regional State Universal Scientific Library, Novosibirsk State Regional Scientific Library, Omsk State Regional Scientific Library named after A. S. Pushkin, National Library named after M. V. Chevalkov (Gorno- Altaisk), National Library of the Tuva Republic named after A. S. Pushkin (Kizil), National Library named after N. G. Domozhakov (Abakan), Tomsk Regional Universal Scientific Library named after A. S. Pushkin. The source bases of this study were public plans and reports of libraries, news and events reports posted on the official libraries websites. The theatre topic reflects itself in preparing various libraries exhibitions, chronographs publications, organizing meetings with culture and arts figures, clubs work, organizing competitions, cultural and educational events and projects, holding festivals. Sociocultural event “Library Night 2019” aimed at supporting reading was a bright manifestation of the “Library + Theater” union. Libraries used the following forms of events: performances, concerts, lectures, master classes, exhibitions, excursions, quizzes, competitions, playgrounds. The events held during the Year of Theatre varied in content and combination of traditional and new forms; had strongly marked book and reading popularization; were oriented on different age groups, interactive; used many multimedia products. Although the chosen forms of the events are alike, the fact that each library has its unique content based on local history makes special cultural and leisure activities of every library.

Objectives. To assess explicit- (products clearly labeled flavored) and emergent concept- (products implying flavoring but not clearly labeled) flavored tobacco product availability following New York City’s flavor restriction. Methods. We examined explicit- and concept-flavored tobacco product availability, with 2017 New York City Retailer Advertising of Tobacco Survey data (n = 1557 retailers). We assessed associations between block group–level demographic characteristics and product availability by using logistic regression. Results. Most retailers sold explicit-flavored (70.9%) or concept-flavored (69.3%) products. The proportion of non-Hispanic Black neighborhood residents predicted explicit- and concept-flavored product availability, as did having a high school within a retailer’s block group for concept-flavored products. Conclusions. Explicit- and concept-flavored other tobacco products persisted throughout New York City, despite 2009 legislation restricting sales. Public Health Implications. Making local sales restrictions or federal production bans inclusive of all explicit and concept flavors would reduce retailer and industry evasion opportunities and protect the health of youths and others.

Marisol, set in 1993 New York City, depicts the end of the world from the perspective of a twenty-something Puerto Rican white collar woman who loses her guardian angel. In approaching the costume design for this play I encountered a deeply concerning question: how can I design costumes for homeless characters without appropriating the physical appearance of people who experience homelessness in real life? Homeless characters are represented in many iconic plays in English language theatre, from Angels in America to Oliver!, and costume designers are frequently asked to address the ethics of representation with their design choices. In this short article I share my process in sourcing primary reference images for homeless characters without appropriating the exclusionary violence of the people who are considered ‘out of place’ in today’s New York City. I considered the ethics of different approaches to sourcing primary research that I have used in the past but ultimately chose to give up ‘authenticity’ for ethics. For the design I used reference images sourced from Japanese label N. Hoolywood’s Fall 2017 Menswear Collection, a fashion design that directly appropriates people who experience homelessness. My choice to frame homelessness through the lens of fashion served our production of Marisol only because of its design concept but leaves open the question of how to ethically design costumes for homeless characters in other plays.

This study assessed changes in smoking behavior and secondhand smoke (SHS) exposure after implementation of the U.S. Department of Housing and Urban Development (HUD) rule prohibiting the use of cigarettes, cigars, pipes, and waterpipes in all federally subsidized public housing, including within residential units (apartments). Using quantitative data from a repeated cross-sectional mail survey of New York State residents of five public housing authorities (N = 761 at Wave 1, N = 649 at Wave 2), we found evidence of policy compliance (99% decrease in odds of self-reported smoking in units, OR = 0.01, p < 0.01, CI: 0.00–0.16), reduced SHS incursions (77% decrease in odds of smelling smoke within developments, OR = 0.23, p < 0.01, CI: 0.13–0.44), and lower reported smoking rates in July 2018 (9.5%, down from 16.8%), 10 months after implementation of the rule. Despite evident success, one-fifth of residents reported smelling smoke inside their apartment at least a few times per week. This study provides insights into how the policy was implemented in selected New York public housing authorities, offers evidence of policy-intended effects, and highlights challenges to consistent and impactful policy implementation.

In Paper Anchor (Paperiankkuri) at the Small Stage of the Finnish National Theatre in 2011 a group of actors, dancers, asylum seekers and eventually also stage technicians (re-)enacted the asylum seekers’ stories: how they had fled their home countries, feared for their lives and faced problems in their country of destination, Finland. It brought the spotlight on asylum seekers, who occupy a marginal position in society and made them visible on many levels: they were present in the stories that were told on stage, in the encounter between performers and spectators and in an art institution that has great national significance. The periphery and the centre, in this case the asylum seekers and the native Finns, met in shifting circumstances and also in a way that is characteristic of the theatre: the performers and spectators were simultaneously physically present, whereas the public debate on refugee issues usually takes place in written texts. In Paper Anchor, the asylum seekers also assumed the role of a witness, whereas in official processes they are obligated to defend themselves and search for evidence. The impact of Paper Anchor was largely based on the aesthetic form of the performance. Although the dominant power structures between the centre and the periphery remained untouched, theatre testified to its ability to affect the spectator through the presence of individual subjects and consequently their subject positions. The debate was shifted to differences within a culture instead of between cultures, as Rosi Braidotti writes: “It is the syntax of social relations, as well as their symbolic representation, that is in upheaval.” (Rosi Braidotti, Nomadic Subjects. Embodiment and Sexual Difference in Contemporary Feminist Theory, Columbia University Press, New York 2011, p.8.)