Theatre Department Research Articles

COMPARISON BETWEEN VOLUME CONTROLLED VENTILATION AND PRESSURE CONTROLLED VENTILATION AS REGARDS EFFECTS ON RESPIRATORY PARAMETERS AND NEED OF POSTOPERATIVE VENTILATION IN LAPAROSCOPIC BARIATRIC SURGERIES

Background: Managing ventilation and oxygenation during laparoscopic bariatric procedures in morbidly obese patients represents many challenges.Aim of the Work: To compare the effect of these modes of ventilation on respiratory parameters in obese patients undergoing laparoscopic bariatric surgeries and whether this influences the need of postoperative ventilation or notPatients and Methods: After approval of ethical committee of faculty of Medicine Ain Shams University and obtaining an informed consent from every patient, this randomized controlled clinical trial study was conducted at Ain Shams University Hospitals operating theatre department on 40 obese adult patients of ASA physical status I - II, admitted to Ain Shams university hospital, scheduled for elective laparoscopic bariatric surgery. General anesthesia with endotracheal intubation and controlled ventilation was conducted in all patients. Patients were divided randomly into two equal groups: Group A; received volume controlled ventilation and Group B; received pressure controlled ventilation.Results: The study found no significant difference between the two groups as regards PaO2 and PaO2:FiO2 preoperatively, after pneumoperitonium, at the end of surgery and postoperatively. As regards PaCO2 there was no statistically significant difference between the two groups in the preoperative measurement while there was statistically highly significant difference between the two groups after pneumoperitonium, at the end of surgery and postoperatively with lower PaCO2 in group (B) that received PCV than group (A) that received VCV. There was statistically highly significant difference between the two groups as regards dynamic compliance after intubation, after pneumoperitonium and at the end of the surgery with higher dynamic compliance in group (B) that received PCV. The results showed no statistically significant difference between the two studied groups regarding the need of post-operative ventilation.Conclusion: No significant difference between pressure controlled ventilation and volume controlled ventilation regarding oxygenation and the need of postoperative ventilation but PaCo2 levels are lower and dynamic compliance is higher with pressure controlled ventilation.

프로젝트 기반 플립 러닝을 적용한 연출실습 수업 설계 및 운영

Most of the university''s arts and practical education are offline, taking a face-to-face approach between professors and students. However, as the educational environment is rapidly changing due to the 4th Industrial Revolution and Covid19 Pandemic, various teaching methods are being developed accordingly, across all disciplines. Now, art education will also need to devise new teaching methods that can overcome the limitations of the existing teaching methods. This study aims to examine the learning effectiveness and educational meaning of the directing practicum class, which is applied with the new teaching method, by designing and operating the online teaching method in the directing practicum class, which had been conducted offline in the theater department. In previous directing classes, the project-based learning method had been applied and got many positive responses from students, but 3-hour session was too short to make the students'' satisfaction level to reach its peak. To compensate the lack of time, the flip-learning was incorporated in designing this new teaching method and on-line materials were given to students before each class. As for research method, first, on- and off-line methods were combined, second, the weekly class plans were designed accordingly, and then each class was operated and evaluated to find out how students'' satisfaction progressed. The new teaching method is named “Project-based flip-learning”, which examines both purpose and principle of project-based learning method and flip-learning. Each week, a newly derived project-based flip-learning was applied in the directing practicum class. Thus, the results of the application of the new teaching method were analyzed by the researchers'' self-assessment and the survey of the learners'' satisfaction in education to analyze the learning effects and educational implications of art practice classes. Through research result, self-assessment, and class satisfaction survey, it showed generally positive effects such as the active and self-led transformation of learners'' attitude, the facilitation of students'' interaction, and the improvement of learning effectiveness. On the other hand, the inconvenience of having to learn in advance through online video lectures was negative. Consequently, the design and operation of the classes by applying project-based flip-runs to the directing practicum class was deemed to require further expansion of the application of these teaching methods as the educational effects improve, although there are inconveniences in online classes.

Novel approach to recording theatre utilisation data using Pinpoint: a wearable real-time location services device

IntroductionInefficient theatre utilisation is costly for patients, staff and healthcare organisations. Active management projects have proven effective at identifying and streamlining delays in the perioperative patient journey.AimThe aim of this...

연극영화 교직이수자들의 수업능력 향상을 위한 모의수업 실행연구

연극영화 교직이수자들의 수업능력 향상을 위한 모의수업 실행연구

Teaching the Young Director to Cast Inclusively: Best Practices

Teaching the Young Director to Cast Inclusively:Best Practices Jaclynn Jutting (bio) Casting is difficult. In my career as a professional director, I confess that I do not share the exhilaration and expressed enthusiasm that most people profess for auditions. Casting is a process that forces me to consider the audience's reading of bodies—faces, waistlines, hairlines, and wrinkles—inviting a narrative that has always made me uncomfortable. It has also made me vigilant of our ethical responsibility as directors. In February 2019, I sat watching a senior director's mainstage capstone performance of Friedrich Durrenmatt's The Visit. The director had assisted me twice, both at the private liberal arts university where I taught and also at a professional regional theatre. As the entire cast lined up for the final funeral procession to say goodbye to Ill's departing coffin, I took in the considerable artistic achievement of this director's work. In the footlight's yellow glow, illuminating the white smeared faces of German expressionism, I realized that all twenty-five faces onstage were white. None were students of color. I looked around me. The audience reflected the diversity of our campus, but the cast onstage did not. By the time the house lights came up I knew that while my student director had succeeded artistically in many ways, I had failed. In the weeks following this performance I considered how, as the head of a Directing BFA program and junior member of a department, to address implicit bias in our young directors and theatre programs—particularly those that are less diverse. I offer you the lessons learned, both my failures and success, as I piloted a new approach to build inclusion into teaching pedagogy to actively teach the #MeToo generation to cast plays that reflect the audience that we are. From 2014 to 2019 I was an assistant professor and director of a Directing, BFA program at Belmont University, a private, Christian liberal arts university in Nashville, Tennessee. According to its website, the university teaches 8,400 students from thirty-six countries. The student body is largely white (78.8 percent) and female (63 percent), with African American (5 percent), Latinx (4.4 percent), and Asian (3 percent) populations (Adams and Coudiet). The theatre department was less diverse. During our 2015–16 season, we had three students of color (4 percent) out of approximately seventy-five majors. The faculty was evenly split in gender, but overwhelmingly white. Only one of our nine full-time faculty and staff was a person of color. With adjunct faculty included, only two of twenty-two staff and faculty were people of color (9 percent). As a white, antiracist teaching artist committed to diversity, for my second-year mainstage production I proposed directing Lynn Nottage's Las Meninas. The production offered thirteen roles, two for African American actors. To my knowledge, Las Meninas was only the second play produced by a playwright of color in the theatre department's history; the choice reflected my colleagues' commitment to increased diversity, which echoed my own. We were of the opinion that if you build it, they will come. It worked. Three years later, in the fall of 2018, our department had grown significantly. We had 109 majors, with nine students of color (8 percent) in the department, representing the African American (5.5 percent), Latinx (2 percent), and Asian (1 percent) communities (Gatrell). I had been teaching and advocating for equitable representation onstage and highlighting implicit bias in directing classes for years. Addressing and identifying industry "best practices" had begun in the directing curriculum in the fall of 2017. That summer, while visiting friends in my [End Page 187] artistic hometown of Chicago, the topic shifted to the Chicago Theatre Standards. My directing colleagues filled me in on the standards, drafted and piloted by twenty participating theatres that year (#NotInOurHouse). I was already familiar with the Not In Our House theatre movement, as its founder, Lori Myers, and I had been in the same theatre company for years. But the resulting standards, created from the movement, was news to me. When I later reviewed them I was satisfied to see recommended guidelines for...

Applied Theatre and Education: We Are Not-Yet …

In this article, we consider the relationship between education and applied theatre, the growth of applied theatre curricula within Canada, the issues that presently we identify as ‘productive tensions,’ and political and social concerns that now frame the ways in which we shape and conduct our practice. Our thoughts and suggestions, while limited by those constraints we offered above, may serve to open a space for discussion on what is and what might be. In our view—looking back over two decades of development in the field of applied theatre programs in Canada—there are a number of tensions that have come into clearer focus as applied theatre has been finding its feet. We see these tensions as productive and offer them not as criticisms but as opportunities to reconsider methodologies in light of a post-dramatic world. Applied theatre programs tend to operate in theatre departments that mostly focus on training for independent careers in text-based mainstream theatre. Such an intention may make it difficult for some who see theatre as a path to careers different from performance and/or production. Certainly, the recent addition of applied theatre to university curricula has revealed some interesting pressures. The division between the hierarchical traditions of theatremaking, with the top-down approach of director-designer-actor-audience, may be beginning to shift with the advent of new thinking. The ways of working that are integral approaches to applied theatremaking require a broader interdisciplinarity of courses than those traditionally offered in departments of theatre.

Ohlédnutí za první štací výstavy Račte vstoupit do divadla

The traveling exhibition Please Enter Our Theatre and its respective exhibition catalogue represent a theatre playbill as a valuable subject of theatriological research as well as an attractive exhibit. The exhibition shows the theatre scene in the Czech lands from the mid-1600s to the mid-1900s, when the playbills have experienced the most wide-spread use, with overlaps to the present, when a theater poster took most of the playbill’s purposes upon itself. The exhibition also includes other objects pertaining to the productions of mostly Czech theatre companies from the vast collections of the National Museum’s Theatre Department, such as photographs, manuscripts, stage and costume designs, props, stage models, paintings, busts, costumes or puppets.

Impact of awareness and knowledge about different types of drug-related interactions among nurses in a tertiary health center

Background: Drug interaction is a condition in which one drug influences the action of other drugs. The level of knowledge of nurses about drug-food interactions has a significant role in the avoidance of adverse drug reactions. Aim and Objective: This study aims to study the knowledge among nurses about drug-related interactions and to evaluate the impact of its awareness among nursing staff. Materials and Methods: A cross-sectional observational study about improvement in knowledge and awareness of drug-related interactions among nursing staffs of different departments in Government Doon Medical College, Dehradun, after an awareness training program was conducted using a modified validated, structure questionnaire. Results: Out of the four departments, nurses of surgery department had the best knowledge about drug-related interactions than other departments. Significant improvement was observed in the knowledge of nurses of operation theater and medicine department after educational training, whereas no significant improvement was observed in the nurses of surgery department about drug-related interactions. There was a positive correlation between knowledge and experience as nurses having a median experience of 10.87 years post-registration had better knowledge. Conclusion: To improve the patient safety, the knowledge of nurses about different types of drug-related interactions is highly essential.

Offstage Intimacy: Best Practices for Navigating the Intimacy of Costuming

Offstage Intimacy:Best Practices for Navigating the Intimacy of Costuming Elaine DiFalco Daugherty (bio), Deborah Hertzberg (bio), and Darrell Wagner (bio) The relatively new specialization of intimacy direction comes out of the desire to maintain physical and emotional safety for all performers. In the era of #MeToo and Time's Up, intimacy direction guidelines are continuing to develop through burgeoning groups, organizations, and individual practitioners. Collectively, as authors we are costume designers, intimacy choreographers, directors, actors, puppeteers, and recent graduates of the MFA program at the University of Idaho. Predominantly, however, we are educators in university theatre departments and see the need to review our processes in light of this work and the importance of these conversations in our daily interactions with students and colleagues. In this note from the field, we discuss the reframing of some foundational ideas behind intimacy choreography and propose ways to apply them practically to the costuming field. While these guidelines may have initially been developed to govern and shape the interactions between actors and directors, they can (and should) be applied in a parallel manner to any interactions that include an aspect of intimate contact—in this case, to assist actors and costumers in creating offstage partnerships in the same manner that they are being created for onstage interactions. We will also offer specific examples of best-practice protocols in the various phases of the costuming process to assist in the transition from a culture of assumed consent to one in which consent is explicitly asked for and received before action is taken. The two main organizations initiating the work to educate, train, and develop best practices have been Intimacy Directors International (IDI) and Theatrical Intimacy Education (TIE). Intimacy work centers on several foundational principles that are common to all practitioners, although the language used to describe those principles may vary. One of the clearest structures of these principles is by IDI, which has established what it refers to as "The Pillars": consent, context, communication, choreography, and closure (Richardson et al.).1 These pillars stand upon the belief in body autonomy, "the right to self-governance over one's own body without external influence or coercion" ("Bodily Autonomy"). This means that you are the only person who has the right to decide how to use your body, for what purpose, and in what manner. As such, a person has the right to give, withhold, or withdraw consent to complete and/or receive a physical action from any other person working on a production. While these principles are designed to guide onstage performance work, they can also be adapted to inform the way actors and costumers interact throughout the inescapably intimate processes of taking measurements, navigating fittings, and choreographing backstage costume changes. Consent is certainly at the very center of this work. As we advocate for body autonomy, we encourage asking for permission to touch and be touched rather than assuming that someone's presence in a situation implies consent. Context refers to understanding the purpose of what we are creating. For example, a stage direction may simply indicate that two characters kiss; however, we are charged with determining the story of the kiss—who initiates, who gives or takes control, how long it lasts and at what intensity, and so on. The discussion of context allows the work to focus on active specific storytelling rather than simply a meeting of lips. Necessity dictates that communication function as an umbrella concept, as it must be present simultaneously with each of the other pillars in order for them to function. If there is no clear, specific [End Page 211] communication, the entire system breaks down. Choreography is developed so that all intimate action is specific and repeatable. Actors are given a series of physical actions done in the same sequence, with an agreed-upon level and type of contact between parties; this specificity allows for greater knowledge, trust, and safety for those involved. Additionally, when the character's actions happen the same way every time, it becomes easier to classify it as "work" and further clarify the dividing line between character and actor. Closure is the final step in the process, and it comes in any...

Záchrana ohroženého fondu unikátních divadelních cedulí - projekt NAKI Cesta k divadlu

Applied research devoted to preserving playbills is the subject of the project titled NAKI (National and Cultural Identity) II The path to theatre. Eight of the worst damaged sets of playbills from the collection of the Theatre Department of the Historic Museum under the National Museum were restored within the terms of this project using methods that enabled methodological processing of the acquired experience. This article contains a description of the typical damage to these sets and the chosen approach to their renovation. The individually taken steps are described and the text is complemented by selected image documentation.

Неизвестная пьеса Владимира Богораза-Тана

Vladimir Germanovich Bogoraz (1865–1936, pseudonyms: Tan, Tan-Bogoraz, Bogoraz-Tan), the famous ethnographer, linguist, religious scholar, and researcher of Northern peoples, was also a prolific and popular fiction author, in particular, a prominent representative of the so-called prehistoric fiction, i.e. fiction about prehistoric times. This is the first publication of Bogoraz’s play “Dragon Victims” which is a revision of his prehistoric novel under the same name (1909, “Sons of Mammoth” in English translation of 1929), commissioned in 1920 by the Section of Historical Pictures at the Petrograd Theater Department of the People's Commissariat of Education, after Bogoraz, at that time an employee of the Petrograd Museum of Anthropology and Ethnography, had been invited by the Section to write an introduction for the upcoming paleophantastic play “Rhino Hunt” by N.S. Gumilev. The text of Bogoraz’s play “Dragon Victims”, preserved in the archive (St. Petersburg Department of the Russian Academy of Sciences Archives), is published according to the typescript with author’s handwritten corrections. In a detailed introductory article, the publisher clarifies the dating, the history of creating, and the literary characteristics of the play as compared to the novel, as well as the programmatic nature of the encouraging attitude to composing plays on prehistoric themes that came from A.M. Gorky, the founder and head of the Section.

Spinning Truth(s), Myths, Gossip, and Facts in the Theatre History Classroom

Spinning Truth(s), Myths, Gossip, and Facts in the Theatre History Classroom Shawna Mefferd Kelty (bio) I know this may come as a surprise, but most theatre students do not become majors to learn about theatre history. Nor is this reality new. In 1994, Jerry Dickey and Judy Lee Oliva published a reassessment of theatre history survey courses, pointing out some obvious but nevertheless unchanging circumstances of our students: 1) they have had little-to-no exposure to theatre history prior to our courses, and 2) quite often we expect our students to write theatre history research papers, but do not actually teach our students how to conduct historical research (46–47). For decades, the challenge in theatre programs has been, and continues to be, engaging the student who "just wants to act" or the history major just wanting an easy arts elective. Dickey and Oliva offer some guiding principles, which include instructors creating "opportunities for students to conduct historical inquiry," giving "greater attention to historiography," and by creating "activities in which the students learn from each other" (52–54). They call for engaged pedagogical approaches that reframe theatre history away from content and toward historiography: What do we want our students to learn? Why do my students (who just want to act) need to know how to do this? Dickey and Oliva's questions remain pertinent. As a theatre historian, I find myself regularly teaching things my students never knew they wanted to know more about. It is my charge to help them draw connections between past and present practices, to highlight relationships between and across cultures, and to raise questions on how theatre responds to its sociopolitical climate and to interrogate how and why institutions favor some narratives over others. Through theatre histories both mainstream and marginalized, I try to cultivate their understanding of representation: whose story is told, how it is told, and who is telling it, both then and now. I teach in a small theatre department (about twenty-five majors) at a rural state college. We offer two theatre history courses, which are supplemented by dramatic literature courses. My classes typically have about ten students. Most are theatre majors, but there are also English, communications, and history students in both sections. Like many theatre history educators, I engage with students who represent a broad range of backgrounds and interests. My courses serve as both an introduction and an advanced requirement for our artist-scholars-in-training. How do I make theatre history matter to this diverse group? In my case, I reconstructed my course as an introduction to historiography and research skills. To emphasize these skills and to highlight how research into theatre history might apply beyond the classroom, I revamped my course assignments toward student leadership, research, and spin (how history gets told), with student-led discussions, "old school" archival research, and student-created podcasts. My pedagogical approach is disruptive—I think it is always good to risk, fail, trust, and risk again; learning to think critically in the classroom helps students think critically in the world. In this note from the field, I share a selection of assignments from my "Theatre History I" course that exemplify how I "spin" the course material to my small though diverse group. Through these assignments, I strive to engage students in the classroom and to make them "the experts in the room" when it comes to the theatre history, research, and the history of theatre on our campus. [End Page 195] In 1991, Thomas Postlewait argued that history is not fixed; rather, "[h]istory happens and re-happens, as we continue to reconstitute the past every time we comprehend it. We are always rewriting and rereading history" (178). The idea that history is continual, contextual, and interpretive is the basis of my approach to the course from the first day I express this approach to students as a formula: history equals evidence plus perspective divided by perspectives across time (H = E + P/PT). This equation, I explain, is not meant as literal math but as a conceptual model. I want my students to learn to ask questions, combining history with perspective, rather than simply accept scholars' interpretations...

Performance, Climate, and Critical Art

Performance, Climate, and Critical Art VK Preston (bio) My essay for the print edition of Theatre Journal (72.2, June 2020), "Queer and Indigenous Art: Performing Ice Times in Climate Crisis," engages with performance and video work from the Arctic that addresses climate warming. It began with my experience as an audience member at Kiinalik: These Sharp Tools during its opening run in the heart of Toronto's queer neighborhood in 2017. The production at Buddies in Bad Times installed itself in my reflection on contemporary and cultural life as an urgent and necessary performance. Its dramaturgy makes often uneasy contributions to engagement with epistemic gaps and rifts between Indigenous and settler communities, decolonization movements, histories, and experiences of climate crises. The work is part of a new wave of performance by Inuit artists and settler artistic collaborators that bring renewed attention to colonization and history, climate change, and sovereignty activism. For me, Kiinalik opened up a new sense of artists working in coalitional, dramaturgical conversation. This philosophy of approach animates videos by the Isuma Collective, who created new work for the 2019 Venice Biennale on climate change and extractivism in the north. So too collaborations, such as those among dance and interdisciplinary artist Laakkuluk Williamson Bathory, Evalyn Parry, Cris Derksen, Jamie Griffiths, Christine Tootoo, and renowned singer and novelist Tanya Tagaq, foregrounding cultural resurgence as well as ongoing extraction and colonization in the north. The artists' sharp contemporary relevance is amplified in these works' engagements with asymmetries of the north and south (here in reference to the far north and Arctic circle) with contemporary realization that global warming is happening far more quickly in the far north than in the south below the 60th parallel. This journey took me to performances in both my home neighborhood in Toronto and in the northernmost capital city in the world, Iqaluit, Nunavut (fig. 1). Created by Parry, Laakkuluk, Erin Brubacher, and Elysha Poirier, with Derksen, Kiinalik continues to tour at the time of writing, most recently appearing in the inaugural season of the National Arts Centre's Indigenous Theatre (2019–20), which identifies itself [End Page E-7] Click for larger view View full resolution Figure 1. Poster at the Nunatta Sunakkutaangit Museum advertising Kiinalik: These Sharp Tools. Pictured: Evalyn Parry and Laakuluk Williamson Bathory. A Buddies in Bad Times Theatre production hosted by the Qaaggiavuut Society at the Frobisher Inn in Iqaluit, Nunavut. Text in Inuktituk. (Photo: VK Preston.) [End Page E-8] as the first national Indigenous theatre department globally. Among Kiinalik's powerful contributions are its self-reflective moves to dismantle the structural and institutional silos put in place among practices of story, dance, theatre, media, and music in settler epistemologies. The interweaving of practices takes spectators on a remarkable voyage with the artists, who met during a residency on climate change in the Artic. As the work unfolds, the artists move across hierarchies of knowledge and the sensorium, entering into personal, cultural, and intergenerational questions that cross histories as well as institutionalized settler distinctions and dramaturgies of nationhood (fig. 2). With support from my university in 2018, I was able to travel to Iqaluit to see a rehearsal and performance of the "northern" version of Kiinalik in the subarctic capital city of Iqaluit, Nunavut. There for the first time I met Qaggiavuut Society personnel, as well as students and artists with the Qaggiq School of Performing Arts. Through the Qaggiavuut society, these artists are creating an arts and training center, shaping what they term an "Arctic-specific pedagogy" in a region where colonization's prohibitions on practices have had ongoing, violent impact. My visit followed on the heels of the company's expanded push to develop a performing arts center and hub of creative practice and research oriented to the circum-polar north. The initiative to create this space and venue called the Qaggiq Hub has been gaining considerable momentum. As a settler scholar working within the university system in the "south," at the center of a long history of material as well as cultural extraction, the works I spent time with while writing this piece have honed a sense of critical reexamination of my own and my...

1988

1988 Jennifer Haigh (bio) In the winter of 1988, I saw New York City for the first time. I was nineteen, a freshman at a small, private college in Connecticut—expensive, but generous with scholarships—where I’d chosen, to the dismay of my hardworking parents, to study theater. I’d told them about my trip to the city, but not how I’d get there or with whom: a man named Alex Pappas, an associate professor of Dramatic Arts, who’d been my teacher for Stage Movement. Alex was the thing I most wanted to be, an actor. At my age he’d already appeared on a TV soap opera, a minor part that later turned into a major one. Film roles followed, though they weren’t films I’d heard of. We watched them together on videocassette, naked, in his bed. If it happened today, our affair would violate a half-dozen statutes in the University Code of Conduct, but in 1988—three years before Anita Hill—the rules had yet to be written. Still, Alex was cautious. He was about to go up for tenure, and his path was booby-trapped with human explosives that might go off at any moment: scheming colleagues, a crazy ex-wife prone to jealousy and unpredictable [End Page 136] rages. He thought it best to keep our relationship quiet, and I agreed, though this hurt my feelings and was difficult to do. Even more than I wanted to sleep with him, I wanted to talk about him, to make known to the wide world that he had chosen me. We drove into the city on a Friday afternoon. We’d be staying at his friend Christopher’s, Alex explained as we idled in traffic, a huffing bolus of cars and trucks crowding onto the Triborough Bridge. Christopher was out of town—for three weeks each month, he performed in a cabaret show on a Carnival Cruise ship—but Alex had a key to his apartment on Mott Street. The address meant nothing to me. “Is it near Central Park?” I asked stupidly—the only New York landmark I could think of. I had visions of Alex and me walking hand in hand, beyond the reach of campus gossip. “Not even close. Motherfucker,” he growled as a taxi swerved in front of us. ________ The weekend in the city was a late birthday present. Alex and I had been talking about it for months. That I would love New York was a foregone conclusion. The life I imagined for myself could unfold in no other place. Back home in Pennsylvania, I’d spent three summers doing community theater. The Saxon Valley Players specialized in affable comedies, Agatha Christie mysteries, and musicals by Rodgers and Hammerstein. I played a French maid in Death on the Nile. I sang in the chorus of Flower Drum Song—like the rest of the all-white cast, in a black wig and heavy eyeliner that were supposed to make me look Asian. The Players were a mix of adults (Bob Whitehead, who owned [End Page 137] the local Ford dealership; Sally Devlin, the organist at the Lutheran church in town) and standouts from the high school drama club (a few handsome boys of ambiguous sexuality and a flock of plain girls who wore lots of makeup). These two groups were outwardly friendly but held certain opinions about each other. To us teenagers, the Bobs and Sallies were a cautionary tale, having squandered their youth and whatever talent they possessed on nothing jobs in a nowhere place. I can guess how they felt about us. We dressed in a way that set us apart from other kids—the boys in scarves and newsboy caps, the girls as if we’d just come from dance class, in leotards and long skirts. We were constantly performing for each other, in what we imagined to be Scottish or Southern or Cockney accents. We were excruciating. I expected the college theater department to be like the Saxon Valley Players, and in one respect it was: the beautiful boys, the self-conscious girls who loved them unrequitedly. I was comfortable with this...

Role of Sound Enhancer Device in Teleconsultation

Aim To study the role of sound enhancer device in teleconsultation. Methods This study was conducted in the plastic surgery department in a tertiary care centre in the month of May-June 2019. A sound enhancer device was used with mobile phone for videoconferencing as form of teleconsultation by plastic surgery trainees in operation theatre and outpatient department. At the end of the study feedbacks were taken from the trainees. Results It was found that on using the sound enhancer device, the sound quality improved and it was helpful in the teleconsultation sessions using videoconferencing. Conclusion The use of sound enhancer is a simple, cost-effective, innovative method of using a simple technology to aid in utilisation of teleconsultation facilities in a very non-sophisticated way.

Our Town

This article explores a unique ecology of blurry boundaries between personal passions and politics, professional and amateur theatre, and the expectations placed on the theatre and performance department by this community. Examining the powerful collective identity in this community, bound up in ‘the theatre’, and the responses to changes made to a university theatre program, this article explores how this community turned the study of theatre into a political issue.

Optimising radiology design for an MRI in theatre without compromising patient safety in a new paediatric hospital utilising a local healthcare technology assessment (LHTA) tool

Local healthcare technology assessment (LHTA) is a multidisciplinary systematic process that identifies the benefits associated with the adoption and application of healthcare technology to meet the clinical needs for a healthcare facility. The aim of this study was to explore the option of locating an intraoperative MRI scanner in our future 22 theatre Department. Following a series of engagements with relevant stakeholders, including patients, carers, surgeons, radiologists, radiographers and anaesthetists, the needs and requirements for the patient journey were evaluated. This was achieved using a LHTA tool to incorporating a workflow analysis informed by these engagements. As such, the process was holistic in its approach while maintaining a patient centred focus. The tool allowed additional value to be demonstrated with the reconfiguring of the four safety zones and access points so that the scanner could be accessed and operated safely both intra-operatively and independently from theatre as required. This allows the scanner to be used to its full capacity scanning both theatre and ambulatory patients. The final outcome is an exemplar design of an MRI in a theatre department integrating the patients’ priority needs, safety and clinical efficiency. It gives access to imaging at the right time and place, resulting in the best potential outcomes for all.

Embodying “tech”: Articulatory setting, phonetic variation, and social meaning

AbstractThis article examines the co‐occurring realization of two sociophonetic variables within a style—the LOT vowel in English and word‐initial /l/—to explore the link between articulatory setting and stylistic practice. At an arts‐focused high school in the San Francisco Bay Area, the curricular and social practices of students in the technical theatre department centre around manual labour. Ethnographic analysis demonstrates that “tech” constitutes a locally enregistered persona, informed by tech students’ positioning as working‐class subjects through their bodily, sartorial, and technological practices. Tech students also produce higher and more rounded variants of LOT, and more velarized productions of /l/, than their non‐tech peers, and I suggest that articulatory setting is at play in the cohesive indexicality of these variants. I advocate for the continued exploration of co‐occurring sociolinguistic variables which treat the body as a broader stylistic context, and propose that studies of co‐occurring features focus on the ideological processes by which combinations of variables come to index thematic styles.

Lights, Camera, Action: Lessons Learned From a Nursing and Theater Collaboration.

Because nursing students do not always have opportunities to interact with individuals with mental illness due to various factors such as limited clinical sites, an innovative teaching strategy was developed. A plan was developed to collaborate with the theater department to offer undergraduate theater students an opportunity to practice acting skills while taking an independent study. These theater students, trained as standardized patients (SPs), engaged with senior nursing students enrolled in a psychiatric mental health nursing clinical course in a baccalaureate program. This process has been successfully implemented for the past 2 years. With 10 theater students completing the independent study and 180 nursing students engaging in interactions with SPs, improvements in communication skills for nursing students have been seen. Because this is a pilot project, additional research should be conducted to further explore the effectiveness of learning for both nursing and theater students. [J Nurs Educ. 2019;58(6):369-371.].

Costume Enterprise as a Panacea for Poverty Reduction among Young People in Nigeria

This study examined costume enterprise as a panacea for poverty reduction among young people in Nigeria by x-raying the potentials embedded in it, in order to ascertain its viability for poverty reduction. The objective of the study therefore was to fill this knowledge gap by carrying out empirical study on the business potentials resident in costume entrepreneurship. The methodology followed survey research design and involved generating data from individuals who are involved in costume enterprise businesses from the six geo-political zones in Nigeria. Primary data sources came from phone call interview and questionnaire survey. In both cases, the respondents for the study were asked questions regarding their average monthly income from their costume business. The result findings revealed that the average monthly income of retail costume entrepreneurs was N30,625; exceeding the monthly earnings of some employed people in Nigeria and even beyond the minimum wage agitated by the Nigeria Labour Union in 2018. The study also discovered that the costume entrepreneurs in the Northern region do not earn as much as those in the Southern region. Bearing all these facts in mind, the study, therefore, concludes that costume enterprise is a viable venture capable of reducing poverty. It is also concluded from the study that Northern Nigeria (the North Central, North East and North West), are still lagging behind in harnessing costuming arts potentials in the region, for revenue earnings. It is therefore recommended that the government should create enabling environment for both local and foreign earnings through costume entrepreneurship. It is also suggested that theatre departments and closely related fields in Nigerian tertiary institutions should incorporate costume arts into their curriculum as a gainful enterprise for job creators and job seekers.