Theatre System Research Articles

1231 Using Novel Technologies and Innovative Theatre Utilisation Procedures to More Than Triple Operating Theatre Output

Abstract Aim In the current climate of extended waiting lists and increasing demands on theatre time and personnel, efficiency gains are vital in shaping the future of surgical practice. We have utilised novel surgical technology to drive massive increases in throughput for one of the most commonly performed procedures worldwide (tonsillectomies). Method Use of the BiZactTM device, a vessel sealing bipolar instrument, has been shown in our trust and worldwide to be safe and offer greater efficiency. We combined this with a conveyor-belt style theatre arrangement - with a second team preparing and anaesthetising the following patient simultaneously, and changes to anaesthetic and post-op procedures to maximise productivity. Results Contrasting the GIRFT recommended 3 adult half day tonsillectomy list, we were able to safely perform 10 adult tonsillectomies in one session, with no change in expected post-operative complication rates. Average time recorded on the theatre system was 10m:00s per patient, with the average time-on-tonsil just 2m:59s. There was 1 patient who presented post-operatively with secondary haemorrhage that was managed conservatively. Conclusions The implementation of efficient technology, combined with innovative theatre procedural technique, short lasting anaesthetics and reduced post operative observation time allowed the half day list capacity to be increased by 333%. Complication rates in this case, and in our wider use of this technique (n=103), have been within normal range, whilst allowing greatly increased efficiency and rapid reduction of local waiting lists. Lessons learned from this conveyor-belt style practice have wide ranging potential applications across specialties that will drive efficient future practice.

Anatoly Vasiliev’s Theatre. Semiology of Continuity and the Way to a New Type of Theatrical System

Introduction. The article provides a general description of Anatoly Vasiliev’s theatrical method, discussing the essence of methodological and philosophical breakthroughs in the future of Russian and world theaters, and, in this context, the continuity of the main tenets of Stanislavsky’s system.Methodology and sources. The article compares two theatrical concepts, two methodological, philosophical, and historical approaches of Russian and World Theatres: Stanislavski’s system and Vasiliev’s method. It determines the semiology of continuity and features of a new approach to the development of dramatic art.Results and discussion. The article highlights the elements of the Stanislavsky system present in Anatoly Vasiliev’s method, aiming to derive an algorithm for utilizing new opportunities based on established systems and techniques for training modern actors. The article's conclusions are drawn from five years of experience (since 1988) with the Vasiliev method, gained through direct contact with the master while collaborating on texts by Plato, Oscar Wilde, Fyodor Dostoevsky, William Faulkner, Thomas Mann, Erasmus of Rotterdam, and Alexander Pushkin. As the article relies on introspective research followed by epistemological analysis, it maintains a subjective nature. It is the outcome of the author’s experience working within the Anatoly Vasiliev’ s School of Dramatic Art at the GITIS acting and directing course (1988–1993), and years of observation of the method’s evolution in working with Vasiliev's students, students of theater universities, and professional actors both in Russia and abroad.Conclusion. The article does not claim to precisely represent Vasiliev’s ideas and thoughts but rather reflects the author’s journey through the rehearsal process in Vasiliev’s theater, acknowledging the internal changes experienced by the author as an actor, director, and individual within the method. It abstains from making value judgments regarding the Stanislavsky system and Vasiliev’s method, instead highlighting the most distinctive features of the theatrical method, elucidating its philosophy, and emphasizing the unity between the Stanislavsky and Vasiliev systems.

DO WE NEED LAMINAR FLOW IN TRAUMA?

Laminar flow theatres were first introduced in the United Kingdom in the 1960s and 1970s and have become standard in orthopaedic surgery involving implants. A study from 1982 showed a 50% reduction in infections with joint arthroplasties when compared to conventional theatres and laminar flow became standard in the following decades. Recent evidence including a meta-analysis from 2017 questions the effectiveness of these theatre systems. Most of the evidence for Laminar flow use is based on arthroplasty surgery. We aimed to determine the effect of using non-laminar flow theatres on our trauma patients.A total of 1809 patients who had trauma surgery were identified from 2019 to 2021. 917 patients were operated on in a laminar theatre and 892 in a non-laminar theatre across two operating sites. We identified the surgical site infections as reported through our surveillance program within the first 90 days of infection. Patient co-morbidities were noted through patient records and procedure length was also noted.Of the 1809 trauma patients identified between the years of 2019 and 2021, 917 patients had operations in a laminar flow theatre and 892 in a non-laminar theatre. Of the 892 operated in non-laminar flow theatres, 543 were operated in the University Hospital of Wales (UHW) and 349 at the University Hospital of Llandough (UHL). An analysis of soft tissue infections and hospital acquired infections post-operatively demonstrated 15/543 and 71/543 respectively for non-laminar UHW infections and 4/349 and 21/349 for non-laminar UHL infections. A look at laminar flow patients showed 25/917 with soft tissue infections and 86/917 hospital acquired infections. There was no difference between laminar and non-laminar flow theatre infection rates showing rates of 12.1% and 12.2% respectively.In our trauma patients we noticed no significant advantage of using laminar flow theatres when compared to non-laminar flow theatres. This is in keeping with some recently published literature. Laminar flow theatres have been shown to decrease airborne pathogen counts under controlled conditions, but we conclude in the day to day environment of trauma theatres these conditions are either not met or that the theoretical advantage of laminar flow does not translate to a direct advantage of reduction of infections which may be achieved by standard prophylactic antibiotics.

Hogyan befolyásolják a politikai értékek a színház működését? : Az észtországi Tartu példája összehasonlító európai perspektívában

The paper introduces the results of an empirical research studing the functioning of theatre (the production, distribution and reception domain and their relationships) in the city of Tartu. All public theatrical events during one year were counted and categorized into types and genres. In addition, quantitative and qualitative audience and reception research was carried out. The methodology was developed by an international research group STEP (Project on European Theatre Systems) and comparative aspects of the study are also presented. Even though theatre systems have cultural roots and clearly are the outcomes of particular cultural, political and social history, it is also the priorities in theatre politics and the structure of the theatre system that have a direct influence on the functioning of theatre.

Vsevolod Meyerhold: avant-garde and reformer of theatrical culture

The object of the research in this article is the work of an outstanding figure of Russian theatrical culture Vsevolod Emilevich Meyerhold, whose 150th birthday is celebrated in 2024. An actor and director, teacher and theorist, he left an indelible mark on the history of theatrical art of the XX century, the search and discovery of which became the property of not only Russian, but also world artistic culture. Considering the problems of the evolution of Meyerhold’s work (from the aesthetics of symbolism to the theater of the social mask and synthetic theater), the author focuses on those phenomena of his artistic heritage, some of which remained experiments, while others served as the basis for the development of a new theatrical system.

Színház a Covid-járvány után : Művészi innováció vagy útfüggőség?

Drawing on a mixed methods approach, this paper will present findings from survey data and discourse analysis of materials gathered in the UK, Germany, Switzerland and Austria. It asks the question whether the exogenous shock brought about by the Covid pandemic has prompted theatres to innovate. Starting from the theory of path dependence which suggests that institutional change is extremely difficult, the paper will argue that preliminary findings do indeed point to transformations that affect both technological and institutional dimensions of theatre, particularly in the field of digital infrastructure and knowhow. The differences vary, however, considerably across the countries and theatre systems surveyed which provide a point of departure for a discussion on systemic differences. The surveys also provide some surprising results concerning work satisfaction and income as support programmes ensured that theatre workers could survive and in fact reduced pressure to produce and perform on schedules that were often deemed unsustainable.

EPIC THEATER AS A SPECIAL TYPE OF COMMUNICATION

Reviewing Brecht's theatrical system as communication reveals the symbolic nature of the process of transferring a message through theatrical language (code). Combining a significant number of arts, the theatrical code contains various artistic languages that together form a theatrical text. The coding of the idea of a work of fiction in epic theater is done through a gaming strategy of distancing, reminiscent of a demonstratively rational manner of storytelling. Like Lessing and Schiller, Brecht wants not only to entertain the audience, but also to educate them in the spirit of the Enlightenment, to stimulate learning processes, and to develop critical thinking.
 The transformation of The Beggar's Opera into The Threepenny Opera is a model that demonstrates mastery of applying the material, an exemplary set of rules, and a technique of modification. The "old material" remains visible, but at the same time, the new in it allows us to "perceive things differently." Recognizability of the craft is crucial, because only transparency of approach brings the aesthetics and logic of the performance to the main denominator that makes repeatability possible: communication based on observation. Brecht conceives of observation on the basis of the visibility of a pointing gesture that functions as spectacles that the wearer does not even realize they are wearing. Everyday events are recreated in the manner of an eyewitness, repeated through demonstration, which implies the process of showing itself. The performance shows characters and scenes in an emphatically epic manner. The declared intention to avoid merging of the actor and the character as much as possible, and to demonstrate this as well, alienates the naturalness of the "street scene" and shows it as an artificially created repetition of the stage.
 The staging of the play as an "opera" generates unexpected visual and acoustic effects. The viewer sees and hears twice: an opera about an opera, as well as a denial of the attempt to imitate an opera as an opera. This performance shows that the Threepenny Opera is no longer a traditional "old opera" and at the same time not the final version of the "new opera." Trivial ideas about groups such as beggars or romantic events such as weddings, stereotypical thinking are dramatized, thus exposing them and encouraging reflection.

Staging Molière in Communist Romania. A Quantitative Diorama

"This paper accompanies a dataset containing information regarding the stagings of Molière’s plays during the 42 years of the communist regime in Romania, from 1948 to 1989. It offers a quantitative overlook of 120 productions, through statistics and visualizations, in an attempt to make sense of the data and find trends and directions otherwise difficult to detect. The data was collected from a public repertory database, supplemented by information from the theaters’ archives and reviews from period magazines and newspapers. We have strived to let the data ‘speak,’ minimizing speculative commentary to where we felt it was needed to add colour or emphasize certain possible patterns. For network graphing and analysis, we used Gephi 0.9 software, and for the analysis and visualization of geospatial data, QGIS 3. Data processing and graph generation were carried out using Microsoft Excel. Keywords: Molière, communist Romania, data, quantitative survey, Romanian theatre system. "

Modeling Hospital Operating Theater Services: A System Dynamics Approach

Background: A hospital’s operating theater service system is a large-scale, complicated system that must be carefully managed to offer the best possible results for its patients. Unlike other industries such as manufacturing and logistics, system dynamics (SD) methodologies are not extensively applied in hospital operating theaters. This study deals with the future development and possible future scenarios for hospital operating rooms in Bangladesh. Methods: Due to demographic dynamics and demographic processes, increased pressures on hospital care are expected in Bangladesh. The SD model anticipates possible future scenarios, reconciles service capacities and the variability of patient demand, and reduces patient congestion and waiting times in the hospital area. This study introduces a causal loop diagram to show a causal link between the hospital operating theater system variables. It also introduces a stock flow diagram to understand the dynamic behavior of the system. Results: The model validation testing reports that in extreme conditions, such as a 50% reduction in the patient arrival rate, the model is valid and runs as usual. Conclusions: This first work of SD modeling for hospital operating theater systems can help healthcare managers, decision makers, or researchers of any responsibility level make better predictions in order to reduce patient waiting times and backlogs and make appropriate decisions.

SAFE Credit Union Performing Arts Center audio enhancement to support architecture

Opened in 1976 and without a major renovation since, the 98,000-sf SAFE Credit Union Performing Arts Center was in dire need of transformation. The building’s aging infrastructure needed a comprehensive modernization to meet accessibility requirements, the escalating requirements of contemporary performance, and to present a new face to the public as the premier cultural institution in the state capital. The existing theater’s acoustics represented a challenge to effectively accommodate the wide range of performance types including Broadway roadshows, the Sacramento Choral Society, and the Sacramento Philharmonic and Opera. Major renovations work included a complete exterior renovation; new mechanical, plumbing, electrical, and theatrical systems; and substantial updates to the interior finishes throughout the building. Providing an accessible venue to all patrons and performers was the primary goal of the project. Significant modifications to the external and internal circulation included removal of the entire audience chamber floor and new seating and aisle ways throughout. An electro-acoustic enhancement system was designed to provide an acoustically tunable audience chamber and electronic shell on stage to meet all the needs of the resident companies. Design and implementation of the electro-acoustic enhancement system will be discussed, including challenges of performer buy-in and audio orchestra shell integration.

Do Patients With Neck of Femur Fractures (NOFF) Experience Long Pre-Hospital Delays in the United Kingdom?

Background and objective It is well documentedthatprolonged preoperative delay is associated with increasedmorbidity and mortality among patients presenting with neck of femur fractures (NOFF). The target time from arrival to the emergency department (ED) to be transported to the theatre for these patients in England is 36 hours. However, the time before the patient arrives at the hospital is not often considered. In light of this, we aimed to assess the duration of the waiting period for NOFF patientsbefore they are brought to the ED. Methods Data were collected retrospectively using IT and theatre systems at a single trust. A total of 223 consecutive NOFF patients undergoing operations in the six-month period between February and August 2020 were reviewed. Results The mean time for ambulance response was one hour and 50 minutes, whereas the time spent in the ambulance was one hour and 47 minutes and the total pre-hospital time was three hours and 37minutes (range: 59 minutes to 14 hours and 41 minutes). The mean time from ED arrivalto the theatre was 33 hours andone minute. The mean total preoperative time was 36 hours and 38 minutes. Conclusion The mean pre-hospital time of three hours and 37 minutes represents approximately 10% of the 36-hour national target. Pre-hospital time is often overlooked when considering the order of the list for the theatre. It may be possible to reduce morbidity and mortality by prioritising patients with a longer pre-hospital time, especially given our finding that some patients may wait up to 14 hours. We recommend that pre-hospital time be considered for all patients with NOFF.

1193 Review of Pre-Operative Antibiotic Prophylaxis (POAP) in National Emergency Laparotomy Audit (NELA) Patients in a Regional Acute Tertiary Hospital

Abstract Aim The current World Health Organization recommendation for timing before incision (TBI) is that one dose of intravenous pre-operative antibiotic prophylaxis (POAP) should be given on starting anaesthesia, within 120 minutes, to reduce surgical site infections. The Scottish Intercollegiate Guidelines Network suggests TBI of 30-60 minutes for full dosage administration. The aim was to review POAP, including TBI, in NELA patients. Method Emergency laparotomy patients were identified on the Trust theatre system over 73 days, and the NELA database reviewed. Data was collected retrospectively through anaesthetic and operation records and if still inpatient, drug charts and clinical notes. Results 46 patients were identified, and 83% had documented POAP (53% on anaesthetic record, 31% on operation note and 16% before surgery). Of these patients who had a documented POAP, 68% had a recorded TBI; mean time was 99 minutes (range 19 to 386). Of the patients who had a recorded TBI, 77% received POAP within 120 minutes; mean time of these was 59 minutes (range 19 to 112). Conclusions The majority of patients received pre-operative antibiotic prophylaxis, although the documentation was variable, and many doses were not given in the optimal time before incision to reduce surgical site infections. Further work includes liaising with the multidisciplinary team to raise awareness of these results and amending the clerking proforma. A further subgroup analysis focusing on septic patients is underway, as well as a long-term review looking into surgical site infection rates.

The symbolism of the mask in the theatrical art of the West and East

The article examines the ancient and unique culture of the mask, analyzes the features of its perception, understanding and interpretation in different theatrical traditions of the West and East (ancient Greek tragedy, comedy dell'arte, Chinese no-si theater, Peking opera, etc.). Particular attention is paid to how the mask is interpreted and used, based on tradition, to create and enhance stage effects and deepen meaningful symbolism in modern performances. The relevance of this work lies in the typology and classification of common and distinctive characteristics of similar, but at the same time unique artifacts of various theatrical cultures of the East and West on the example of the use of masks in productions in the past and present. Addressing this topic can help to establish intercultural ties, facilitate intercultural communication and reduce the degree of civilizational contradictions in a multipolar world. The scientific novelty of the study lies in the results of processing the original selection of case studies, scientific publications and literary sources. The purpose of the study is to search for the features of the perception and understanding of masks in various theatrical systems. To achieve this attitude, the history of masks in different countries, their semantics are analyzed, in particular, the ancient Chinese thermal culture and the ancient Greek theater, as well as the Italian comedy dell'arte are compared. In conclusion, we note that in different theatrical systems, the mask has unique symbols and uses. Thus, it reveals the complex and contradictory human nature, reveals the unknown and people's fear of reality, embodies and expresses emotions, provides the rhythm and sharpness of the development of the drama, deepens the meaning of ongoing events.

The historical aspect of the development of school theater

Introduction. In modern realities, the education system needs an innovative approach to teaching the younger generation, as it requires mobile and universal methods. One of the methods is theatrical practice in conjunction with pedagogical practice. Considering the path of development of school theater, we turn our attention to the interaction of these two areas, to how the approach changes through theatrical practice depending on the current time, highlight the positive features in the process of using school theater as a tool in the educational system.By studying Russian and foreign experience in the application of this technique, we note the details that require transformation, we study the methods of applying the technique that are suitable for use at the present time.Materials and Methods. When writing this article, a theoretical analysis of domestic and foreign literature, the study of scientific articles and other publications on the research topic, as well as generalization and systematization of the results of domestic and foreign studies were used.Results. The process of development of school theaters in the course of the historical transformation of society (in particular, in Russia) is considered; the features of the application of the theatrical system and the processes characteristic of it in conditions that relate to school theaters are indicated; the processes of development of school theaters in different historical periods in Russia and abroad were compared.Discussion and Conclusions. The processes of change observed in modern society require adjustment of the pedagogical and psychological approach and other ways of using the means of theatrical school pedagogy in the Russian system. Based on the methods of using school theater in other countries and the Russian experience of past years, we can make positive changes in the domestic practice of using theater in schools.

Theatre Directing System: The Scope of the Concept

.In Ukrainian, the online search for “theatre directing system” provides over seventy thousand results, while the search for “theatre system” over four thousand, which is proof ofthese concepts to be quite widespread. However, comparing the content ofthe search query is disappointing, asit reveals the oversaturation of art history with various terms that serve asshallow labels: different scholars use these terms differently under different circumstances and in different periods. This can be illustrated with many examples, yet, the most elementary would be the most telling: anyone can count the number of some objects, for instance, of apples in a basket, as we know the features that distinguish an apple from a non-apple. Nevertheless, no proper theatre researcher or practitioner would dare to name the number of theatre directing systems, as the boundaries of this concept are too vague. At most, what could be listed isthe number of popular, “iconic” systems; and yet, any given number would be true and false at the same time. The same is accurate for the concept of an “artwork”: according toMarcel Duchamp, itis enough only to label any object as art and place itin the “art space.” This paper addresses a “(theatre) directing system”: the history ofthe concept, its essence, and its features that define the scope of its use.

Exploring the Construction of Curriculum System of Theater and Film Studies Based on ADDIE Model

Abstract In order to develop a first-class major in theater, film and television and achieve the goal of “cultivating artistic talents”, this paper believes that the development of the discipline should focus on “creativity” and “originality”. Therefore, a new understanding of the profession and theoretical innovation in academic research should be realized, and an educational system more in line with the essence of art education should be established. The research is based on the ADDIE model and the course “Theatre, Film and Television” as the carrier to explain the teaching design of Theatre, Film and Television professional courses. Procedures and methods in the five stages of analysis, design, development, implementation, and evaluation ensure local adaptation in the course design and development process and tailoring to the actual teaching and learning. We will build an ADDIE teaching design model for drama, film and television courses, and conduct systematic teaching design research and teaching case practice for drama, film and television courses to ensure the positive development of teaching quality. Through an operationalized guidance model in order to improve the standard of course design and enhance course system construction. More than 80% of the students expressed the hope that the ADDIE model could continue to be used in the teaching of drama and film.

DYNAMIC HIP SCREW: ARE WE DOING IT ACCURATELY?

BackgroundDynamic Hip Screw (DHS) is the most frequently used implant in management of intertrochanteric femoral fractures. There is a known statistical relationship between a tip-apex distance (TAD) >25mm and higher rate of implant failure. Our aim was to analyse all DHS procedures performed in our trust from seventeen months and compare their TAD values to the acceptable standard of ≤25mm.MethodsAll patients undergoing DHS between April 2020-August 2021 were identified from our theatre system. Additionally, those presenting to hospital with implant failures were included. Patient demographics, date of surgery, fracture classification (AO) and date/mode of failure were recorded. Intraoperative fluoroscopy images were reviewed to calculate TAD, screw location and neck shaft angles by two independent observers.Results215 patients were identified, five of which were excluded due to inadequate fluoroscopy. Failure was seen in 3.3% of the cohort (n=7), of which 71.4% had an unacceptable TAD. In total, 21 patients (10%) had TAD >25mm, of whom 12 had superiorly and 15 had posteriorly placed screws. There were no failures in patients with a TAD of <20mm whereas a TAD >30mm had 50% failure rateConclusionThis audit reinforces the importance of aiming for a low TAD (preferably <20mm) intraoperatively. It is also desirable to avoid superiorly and significantly posteriorly placed screws.ImplicationsComplex hip revision surgery in the elderly bears substantial financial implications to the NHS and, more importantly, causes prolonged morbidity to the patient. Adhering to established standards will ensure reduced implant failure and best patient care.

Становление системы К.С. Станиславского в контексте эпохи Серебряного века: влияние Востока

The article presents an overview of the All-Russian scientific conference with the contribution of international participants. It took place at GITIS on November 2–3, 2022. While creating his famous theatre system, K.S. Stanislavsky discovered some common details between his methods of pedagogical practice and yoga. He intuitively came to the same methods of influencing the psyche that had been known in the East for thousands of years. In the process of his work, he addressed the concept of “prana”, that he borrowed from the yogis. He also used such terms as “emission” and “perception”, “radiation” and “induction”, that were adopted from the French philosopher and psychologist T. Ribo. In the second half of the 19th century, the concept of psychic energy became widespread in psychology and was used to interpret numerous inexplicable phenomena during spiritual sessions. Sigmund Freud freed this term from mystical overtones and denoted it with the word “libido”. Carl Jung, the founder of analytical psychology, proposed to consider the libido neutral by its character as a universal psychic energy. By addressing some principles of yogic teaching, K. S. Stanislavsky created various methods for the development and improvement of the actor’s psychotechnics. From this basis, his colleagues,followers, and students later developed a number of psychophysical trainings. They became part of Stanislavsky’s method known throughout the world as his “system” and have proven to be very useful in the process of an actors’ education. The purpose of the conference was to reveal those aspects of the Silver Age culture which contributed to the creation and establishment of the K. S. Stanislavsky system.

Восток и Запад в оперных нарративах ХХ века: от столкновений к зеркальным отражениям

The article is devoted to the evolution of the perception and implementation of the culture of the Far East in the narratives of Western operas of the twentieth century. As material, the author turns to "Madama Butterfly" and "Turandot" by Giacomo Puccini, "Curlew River" by Benjamin Britten, "A Night at the Chinese Opera" by Judith Weir. A holistic view of the evolution of the perception and interpretation of the East in the opera of the twentieth century has not yet been undertaken. Operas by Puccini and Britten were not considered from the perspective of the specifics of narrative, Weir’s "A Night at the Chinese Opera" is practically unexplored. The article traces the path of transformation of the perception of China and Japan in European opera narratives of the twentieth century from the confrontation of worlds to their interpenetration and awareness of deep identity. There are two main stages in the evolution of the oriental theme in the twentieth century, the line between which was drawn by the events of the Second World War. In the operatic narratives of the first stage, there is a connection with the romantic tradition of personifying the West and the East as masculine and feminine principles with the invariable victory of the West. The opera narratives of the second, pivotal stage demonstrate the disappearance of the conflict between East and West. As tools for the dialogue of cultures, the author notes Britten’s and Weirs’ reflection of plots from one culture in the narrative of another, as well as the comparison of theatrical systems: European and Far Eastern.

Women in Bulgarian (post) socialistic theatre on and beyond stage

This paper attempts to draw a rough sketch of several major, intertwined lines of Bulgarian cultural and social history that will have a long-term effect and influence on many processes in the next few decades. As a beginning, it looks into the early phase of the establishment of state socialism in Bulgaria, focusing simultaneously on the processes taking place in the theatre system as part of the larger new political and ideological project of industrialization and modernization and the social role prescribed to it in this intensely changing social landscape. At the same time, the paper follows the parallel introduction of two somewhat contradictory new visions about women?s role in society: giving them full election rights and encouraging them to enter the labor force, while simultaneously introducing measures like the ?bachelor tax?, stimulating men and women to enter marriage, creating a network of policies and notions, and encouraging women to give birth to as many children as possible and to be the main caregivers in the household. That is why the foundation of this research is precisely the paradoxical situation in which women were in the socialist theatre and outside it.