Curtain Calls Research Articles

Curtain Calls in Dance: Negotiating the Terms of Disengagement

Through curtain calls in Eurocentric theatrical dance forms, dance artists, audience members, and staff coordinate how dance concerts end and participants disperse. Nevertheless, despite the widespread use of such practices, the rituals of bows and applause have largely eluded critical inquiry. This article offers dance practitioners choices toward thoughtfully negotiating the processes of engagement and disengagement in groups contingently assembled for dance events. A brief historical inquiry introduces how such behaviors may enact deeply embedded, power-laden agendas of relationship. Then, curtain calls are revealed as complex spaces of intersubjective negotiations, iterative of numerous possible functions at work.

Cross‐Border Knowledge Transfer in the Digital Age: The Final Curtain Call for Long‐Term International Assignments?

AbstractDigital technology has altered how multinational companies (MNCs) transfer knowledge across borders. With digital communication media (DCM), knowledge exchange can become more cost‐effective, thereby reducing the need for face‐to‐face exchange. DCM's influence on long‐term international assignment management for cross‐border knowledge transfer remains unclear. Based on 71 interviews with German human resource (HR) managers and subsidiary HR counterparts, we investigated the use of DCM to exchange knowledge across country borders. Exploring these conditions alongside HR managers’ unique perspective on global mobility management prior to and during the global COVID‐19 pandemic, we present two major findings. First, 12 facilitating conditions are necessary for digital knowledge transfer across borders to be accepted as a valuable alternative to long‐term international assignments. Second, we identified individual connections between facilitating conditions and found that five conditions decreased in relevance, while the remaining seven became core aspects of successful digital knowledge transfer during COVID‐19 and possibly beyond.

FROM PAGE TO STAGE: TEACHING ENGLISH THROUGH STUDENTS’ INVOLVEMENT IN PLAYWRITING, PRODUCTION AND PERFORMANCE

<p><span>English language teaching is both challenging and satisfactory, especially when combined with student-oriented approaches. The focus of the paper will be the experience with third year undergraduate students of University of Tirana, Faculty of Foreign Language, English Department, during their courses on British Studies and Translation Criticism. The paper is a qualitative research describing the way English language students were involved in playwriting, production and performance of a variety show in English called “Curtain Call” by the end of their academic year April-June 2022. The paper reinforces the importance of offering extracurricular activities to English language students to encourage their creativity, academic development, language proficiency, cooperative learning and team building. The paper also seeks to offer a positive perspective of students´ experience on the stage of National Experimental Theatre in Tirana, and their familiarity with backstage, forestage, light effects, music, stage design, stage directions, proxemics, prosody, speakability, breathability, and many other theatrical elements. From the English language and culture teaching-learning perspective, the research offers a series of findings and recommendations on the importance of applying all the acquired knowledge on British and American Studies and Translation teaching-learning process in front of English-speaking spectators who could test their successful language and culture attainment when performing live in English while taking the stage.</span></p><p><span><strong><span>Keywords: </span></strong><span>English language teaching-learning process, language and culture acquisition and attainment, theatre stage, language proficiency, British and American culture.</span></span></p>

The Diaries of Judith Malina, 1958–1971 (Excerpt)

The Diaries of Judith Malina, 1958–1971 (Excerpt)

Unlisted

Unlisted

Poser, Norman S. The Birth of Modern Theatre: Rivalry, Riots, and Romance in the Age of Garrick.

Poser, Norman S. <i>The Birth of Modern Theatre: Rivalry, Riots, and Romance in the Age of Garrick</i>.

“Will Blackness Please Step Out and Take a Curtain Call?”: Ed Bullins’s Conceptual Theatre

Emphasis on the political activism of the Black Theatre Movement has obfuscated its investment in contemplation and interiority. Ed Bullins’s avant-garde dramatic texts – particularly The Theme Is Blackness (1966) and A Short Play for a Small Theater (1970) – are key to the genre I call the conceptual play and an archive I call conceptual theatre. In dialogue with Amiri Baraka and Jean Genet, Bullins built on experiments with closet drama by Marita Bonner and Jean Toomer, resisting the physical stage and the public sphere in order to reimagine blackness. My reading of Bullins’s work shifts our understanding of the Black Theatre Movement from a theatre of reality to a conceptual theatre that catalyses a politics of the imagination.

Vladimir Horowitz (1903-1989).

Back to table of contents Previous article Next article Images in PsychiatryFull AccessVladimir Horowitz (1903–1989)Anne R. Hart, M.D., Charles H. Kellner, M.D.Anne R. HartSearch for more papers by this author, M.D., Charles H. KellnerSearch for more papers by this author, M.D.Published Online:1 May 2019https://doi.org/10.1176/appi.ajp.2018.18060672AboutSectionsPDF/EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinked InEmail Among the many celebrities who have been treated with electroconvulsive therapy (ECT), Vladimir Horowitz stands out as the preeminent musician. Widely celebrated as the foremost concert pianist of the 20th century, Horowitz was a champion of the romantic repertoire, and he reimagined concepts of tone, color, and expression. Privately, however, he had a complicated psychiatric history. He had multiple phobias, paralyzing performance anxiety (which he tried to mitigate by bringing his own piano to every concert), and severe bouts of depression throughout his life. His most debilitating episodes of depression lasted for years on end and were so severe that he withdrew from playing the piano entirely. What is less widely known is that he was successfully treated with ECT on multiple occasions.Concert pianist Vladimir Horowitz in Amsterdam, 1986. (By Roland Gerrits/Anefo. Image from the Nationaal Archief, the Dutch National Archives, and Spaarnestad Photo, donated in the context of a partnership program. Image file licensed under the Creative Commons Attribution-Share Alike 3.0 Netherlands license.)Horowitz was born in Kiev in 1903, the youngest of four children in a Jewish family. His talents as a young pianist brought him to the West in 1925, where he lived for the rest of his life. He married Wanda Toscanini, the daughter of his mentor, conductor Arturo Toscanini, and they had one daughter, Sonia.His first episode of depression began in 1933, during which he retreated to Lucerne, Switzerland, for 2 years, away from public performance. During this time, he grappled with crippling low self-esteem about his musicianship and perhaps his sexuality as well. His psychoanalysis with Lawrence Kubie in the 1940s may have been, at least in part, an effort to alter his sexual orientation.His second and most severe episode of major depression started in 1953 and resulted in a 12-year retirement from the concert stage. This period was marked by the death of his father-in-law and a traumatic brain injury to his daughter Sonia. He received ECT in 1963 at Presbyterian Hospital in New York, which enabled him to return to his performance career. According to one of his biographers, Horowitz described ECT as a “wonderful treatment that healed his nerves” (1).His third and final depressive episode occurred in 1983, precipitated by a concert tour that was poorly reviewed by friends and critics alike, with the New York Times reporting “lots of wrong notes, clotted chords, and rhythmic distortions. The famous Horowitz precision was only intermittently in evidence” (2). His depression led to physical debility. Historical records hint that he may have had problems with overuse of prescribed barbiturates as well. Another course of ECT, at the Neurological Institute in New York City, resulted in complete recovery. He was subsequently able to perform in Russia for the first time in 61 years, for what would become his final, triumphant international tour. The New York Times raved, “Horowitz returned to the Soviet musical stage today, giving a recital that dazzled the audience and left many in tears.… The audience, applauding loudly and shouting cheers, brought Mr. Horowitz back on stage for six curtain calls after he had played three encores” (3).Horowitz died in 1989 in New York City and is buried in the Toscanini mausoleum in Milan.Icahn School of Medicine at Mount Sinai, New York; and New York Community Hospital, Brooklyn.Send correspondence to Dr. Kellner ([email protected]).References1 Plaskin G: Horowitz: A Biography of Vladimir Horowitz. New York, William Morrow & Co, 1983Google Scholar2 Schonberg HC: Horowitz: His Life and Music. New York, Simon & Schuster, 1992Google Scholar3 Taubman P: For Horowitz in Moscow, bravo and tears. New York Times, April 21, 1986Google Scholar FiguresReferencesCited byDetailsCited byNone Volume 176Issue 5 May 01, 2019Pages 341-341 Metrics KeywordsECTHistory Of PsychiatryCreativityMood Disorders-UnipolarPDF download History Accepted 24 September 2018 Published online 1 May 2019 Published in print 1 May 2019

Can a drawing be rehearsed?; or, There's no bowing in performance art

This exposition combines a practice-led research project titled 'Tullah and Tom: A Drawing Affair' with a reflective analysis of ‘performance drawing’—a tag deployed with increasing frequency in drawing research. Drawing has always been hybridised and concocted with other disciplines and research frameworks, but its contemporary associations with performance art, expanded theatre and the performing arts are under-examined. The co-option of drawing by performance lacks extensive critical engagement, as do significant aspects of the performance drawing process. The subject of this exposition is two of these unexamined aspects—rehearsal and the curtain call. Although there are analogies to be drawn with theatre, this research resists analogy and focuses on these phenomena within the context of drawing practice. Drawing rehearsals and curtain calls are peculiar and specific activities within the performance/drawing nexus, and their examination has yielded significant insight. One private and one public, these ancillary and parasitical processes bracket the performance drawing and fulfil pivotal roles in enacting, re-enacting, and disenthralling the drawing from its performance matrix.

Using Functional Behavioral Assessment to Develop a Multicomponent Treatment for Sleep Problems in a 3-Year-Old Boy With Autism

A large number of children with autism spectrum disorder (ASD) and their families are affected by sleep disturbance. Given the concomitant negative effects of sleep problems, it is essential to identify effective treatments. This case study exemplifies the use of Functional Behavioral Assessment (FBA) to develop treatments for sleep problems in a 3-year old boy with ASD. A function-based, multicomponent intervention resulted in the elimination of nighttime breastfeeding, a reduction in the frequency of curtain calls, and the frequency and duration of nighttime awakenings, although not all gains were maintained at follow-up. This case study highlights the importance of FBA in the assessment of sleep problems for each individual, and the need to develop treatments that address the unique function of sleep disturbance for each individual. Further research into the assessment and treatment of sleep problems in children with ASD is required.

Femoral head–neck modularity: Curtain calls and caveats

There are practical and fiscal benefits of head–neck modularity. Taper corrosion occurs with all head sizes and rarely necessitates revision. The role of design and manufacturing variables continues to be investigated and debated. The utilization of ceramic heads has increased but the cost–utility ratio needs scrutiny. Changes in surgical practice, including smaller incisions and the increased use of cementless, tapered titanium stems are challenges to consistent and adequate taper assembly. Surgical taper assembly is variable and important regardless of the head material. Standardization of surgical taper assembly is desirable for all head materials: taper assembly has been implicated in ceramic head fracture as well as in fretting and corrosion.

Book Review—Pediatric Sleep Problems: A Clinician's Guide to Behavioral InterventionsMeltzerLisa J.CrabtreeValerie McLaughlin American Psychological Association: Washington, DC. 282 p.ISBN: 978-1-4338-1983-4.

Book Review—Pediatric Sleep Problems: A Clinician's Guide to Behavioral InterventionsMeltzerLisa J.CrabtreeValerie McLaughlin American Psychological Association: Washington, DC. 282 p.ISBN: 978-1-4338-1983-4.

Tennessee Williams: mad pilgrimage of the flesh

On 31 March 1945, at The Playhouse Theatre on Forty-Eight Street the curtain rose on the opening night of The Glass Menagerie. Tennessee Williams, the show's thirty-four-year-old playwright, sat hunched in an aisle seat, looking, according to one paper, 'like a farm boy in his Sunday best'. The Broadway premiere, which had been heading for disaster, closed to an astonishing twenty-four curtain calls and became an instant sell-out. Beloved by an American public, Tennessee Williams's work - blood hot and personal - pioneered, as Arthur Miller declared, 'a revolution' in American theatre. Tracing Williams's turbulent moral and psychological shifts, acclaimed theatre critic John Lahr sheds new light on the man and his work, as well as the America his plays helped to define. Williams created characters so large that they have become part of American folklore: Blanche, Stanley, Big Daddy, Brick, Amanda and Laura transcend their stories, haunting us with their fierce, flawed lives. Similarly, Williams himself swung high and low in his single-minded pursuit of greatness. Lahr shows how Williams's late-blooming homosexual rebellion, his struggle against madness, his grief-struck relationships with his combustible father, prim and pious mother and 'mad' sister Rose, victim to one of the first lobotomies in America, became central themes in his drama. Including Williams's poems, stories, journals and private correspondence in his discussion of the work - posthumously Williams has been regarded as one of the best letter writers of his day - Lahr delivers an astoundingly sensitive and lively reassessment of one of America's greatest dramatists. Tennessee Williams: Mad Pilgrimage of the Flesh is the long-awaited, definitive life and a masterpiece of the biographer's art.

Charles Bukowski, king of the underground: from obscurity to literary icon

CONTENTS Acknowledgments List of Permissions Preface for the King Michael Basinski Epigraph Introduction 1 'Who's Big in the Littles' 2 The Insider Within 3 A Towering Giant with Small Feet 4 Stealing the Limelight 5 Curtain Calls Appendix Timeline Works Cited

The jumbo cup: Curtain calls and caveats

Use of an oversized “jumbo cup” is an effective technique for revision of most failed acetabular components. The jumbo cup is prepared with hemispherical reamers and provides a large porous ingrowth surface area in direct contact with the host bone. However, since the oversized cup is larger than the native acetabulum, the hip center can be raised, which may require use of a longer femoral head to maintain soft tissue tension and leg length. The anterior edge of the cup may also protrude through the anterior wall, which could be a cause of iliopsoas tendonitis resulting in groin pain.

The Making and Re-making of Winsor McCay’s Gertie (1914)

In addition to creating legendary comics like Little Nemo in Slumberland, Winsor McCay was a pioneer of animation. His Gertie (1914) was the first American masterpiece of animated film. Two versions are known to have existed: the original in which McCay appeared on the vaudeville stage with an animated dinosaur named Gertie projected on screen, and a later one that contained a live-action prologue and epilogue filmed and distributed by William Fox’s Box Office Attractions Company. The Fox version is still extant as original nitrate prints, but McCay’s vaudeville version was lost. However, an examination of 334 of McCay’s original drawings reveals that near the end of the vaudeville version there was a ‘Curtain Call’ sequence not included in the Fox version. Fifteen drawings from the lost segment allowed its reconstruction by the Gertie Project applying digital technology. The authors have dated Gertie’s vaudeville chronology more precisely and have demonstrated McCay’s animation techniques, including his ‘split system’, by decoding his original annotations. The authors examine the filmmaker’s claim that he had made 10,000 drawings for Gertie. The resulting historic analysis of a milestone in silent film animation discusses the artistic mastery of Winsor McCay, issues of historical authenticity, and the archival implications of digital reconstruction.

:Curtain Call (DVD). Chuck Braverman, Producer and Director. An NJN/White Whale Production. Culver City, CA: Braverman Productions, Inc. (Distributed by New Day Films, New York, NY), 2006 [2001] . Color/38 minutes (Universities US$190.00; Community Groups/Public Libraries/High Schools US$75.00; Rental US$50.00)

:<i>Curtain Call (DVD)</i>. Chuck Braverman, Producer and Director. An NJN/White Whale Production. Culver City, CA: Braverman Productions, Inc. (Distributed by New Day Films, New York, NY), 2006 [2001] . Color/38 minutes (Universities US$190.00; Community Groups/Public Libraries/High Schools US$75.00; Rental US$50.00)

CELEBRATING SHAW'S CHICAGO CENTURY AND BEYOND

Broadly speaking, the geography of Shaw’s dramatic career has been determined to a large degree by major metropolitan centers in Europe and North America and the cultural experiments and avant-garde movements they generated. Moreover, as the historical record shows, the reception of Shaw’s plays in these culture capitals has produced responses ranging from horrified to indifferent to enthusiastic. Yet while scholars have examined at length Shaw’s reception in cities such as Paris, Berlin, Vienna, and New York, they have yet to explore fully the importance of Chicago, a city whose long-standing importance to Shaw’s career challenges more traditional approaches to the dramatist’s life and work. 1 In diverse ways, Chicago has displayed its love affair with GBS for more than a century; indeed, according to bibliographer Sidney Kramer, it was “from Chicago that Shaw conquered America.” 2 In the most interesting ways, Shaw’s literary and professional relationship with Chicago cuts across the encounter of publishers, artists, and intellectuals with a metropolis that not only engendered but also supported and enhanced a revolution in the arts equal to both its American and European counterparts. At one level, the significance of Shaw’s relationship with Chicago—or “Shaw-cago” as we might term it—provides us with an opportunity to consider a counter-reading of the dramatist’s relationship with America; at the same time, the points of contact between Shaw and the “Windy City” speak to an alternative sense of literary history, one that connects the Irish dramatist to American cultural and political life from the late Victorian period through our own postmillennium moment. 3

The Final Curtain Call: Administrative Challenges in the United States O-Visa Process for Foreign Artists and Performers

In 2007, the media and entertainment field amounted to a $930 billion industry.1 The film industry brought in $10.2 billion, and the video game industry brought in $7.4 billion in U.S. revenues.2 The advent of the Internet and other technological developments has created new platforms for, and transformed the meaning of, entertainment for a more globalized audience. No longer are American or foreign audiences confined to entertainment in their respective countries. Global audiences continue to broaden their international tastes, creating a culturally diverse demand and market for more international performers. From music to advertising, individuals focus on secular appeal. As the demand increases for global appeal in the entertainment arena, so too has the demand for foreign artists. Foreign-born artists like Rihanna, Jude Law and Yo-Yo Ma are from diverse countries and entertainment genres; yet they have one thing in common: they all need O-visas to enter into and perform in the United States. In 2010 alone, 63,984 foreign artists and personnel entered the U.S. on an O-visa.3 With the passage of the Immigration Act of 1990,4 Congress created the Oand Pvisa categories for entertainers and artists.5 Congress viewed these visa categories as exceptional ones for extraordinary artists in their respective fields. Whether the United States grants an O-visa depends heavily on subjective standards and input from several different U.S. institutions: law firms, artist labor unions, the United States Citizenship and Immigration Services (USCIS) and the Department of State (which includes consulates and embassies). The inconsistent standards implemented by each of these institutions pose administrative issues in

Debussy's Melisande: The Lives of Georgette Leblanc, Mary Garden and Maggie Teyte. By Gillian Opstad

‘Never in the world would I take a curtain call after the death of Mélisande. I never did, because, you must understand this, I really died’ (Mary Garden and Louis J. Biancolli, Mary Garden’s Story (New York, 1951), 65). Thus wrote Mary Garden, and for all the manifest absurdities of her autobiography, ‘60 per cent drivel’, according to her clear-eyed successor in the role, Maggie Teyte (quoted in Gillian Opstad’s new study, p. 66), in this instance we accept the hyperbole. Her artistry, in acting as well as singing, was by all accounts extraordinary, and in those three emphatic words, ‘I really died’, speaks the authentic voice of the artist, enabling an audience’s willing suspension of disbelief. Debussy would have found his own suspension of disbelief almost impossible, but for Garden. He too, for a different reason, hated curtain calls, and he invariably hid himself away after performances he forced himself to attend. The actual manifestation of his dream was torture to him, coming face to face, as it had to, with the reality of the Opéra-Comique. ‘The scenic realisation of a work of art, no matter how beautifully done, is nearly always in conflict with the interior dream whence it was born’, he wrote, recalling his fears when Pelléas et Mélisande at last reached the stage in 1902. ‘And above all, Mélisande’s voice which I had dreamed of as being so tender—how was that going to turn out? Even the most beautiful voice in the world could have been quite antipathetic to the special feelings her character requires.’ But with Garden as his Mélisande he ‘awaited the performance in complete confidence, yet still curious. At last came the fifth act, a breath-taking event whose emotions cannot be rendered in words. There I heard the voice I had secretly imagined—full of sinking tenderness, and sung with such artistry as I would never have believed possible’ (Musica, January 1908, translated by Richard Langham Smith in Debussy on Music (London, 1977), 226–7).