Print, Performance, and the European Avant-gardes, 1905-1948

Early twentieth-century Europe witnessed a particularly intense moment in the long debate concerning the relationship between the dramatic text and performance. Modernists asserted the predominance of the text, which is easily assimilated to the printed page and incorporated into the institution of literature. The avant-gardes proclaimed the primacy of the live theatrical event, and they worked to liberate performance from its association with literature. At stake was the definition of the theatre as a medium--and its power to re-enchant the modern world. This dissertation reveals that even as the avant-gardes rejected the print genre of drama, they fiercely embraced print, producing some of the century's most extraordinary publications. Focusing on the material aspects of performance-related texts from Symbolism to Surrealism, I show that the avant-gardes not only maintained but amplified the centuries-old relationship between the theatre and print. They did so in ways that profoundly altered the conventions of performance and of the visual and graphic arts, expanding our sense of what is possible onstage and on the page. Under pressure from the insurgent cinema and also from a pervasive print culture that had absorbed, and been absorbed by, realist and naturalist drama, the theatre was a medium particularly in need of formal reassessment. In response to these conditions, the avant-gardes declared (to varying degrees) that literary plays should give way to ultra-physical performance; print-friendly playwrights to stage-steeped directors; dialogue to dance, song, or non-verbal sound. Because print was still the mass medium of the early twentieth century, the avant-gardes also produced performance texts--texts which embodied their theatricalist agendas through typography, page design, and illustration. In chapters on Edward Gordon Craig, Francesco Cangiullo, Lothar Schreyer, and Antonin Artaud, I argue that print was crucial to the avant-garde attempt to redefine, renew, and revolutionize the theatre

Influence of Microtopography and Soil Treatments on Tree Establishment on a Reclaimed Quarry

Research Highlights: Reclaimed minesites provide an opportunity to establish plantings of tree species of special concern, such as the American chestnut (Castanea dentata (Marshall) Borkh.), white oak (Quercus alba L.) and shortleaf pine (Pinus echinata Mill.). Background and Objectives: Reforestation success may be influenced by the physical and chemical characteristics of the substrate, which can be manipulated as part of the reclamation process. The objective of this study was to test the effects of three common reclamation treatments on the establishment of the above species on quarry overburden. Materials and Methods: This study tested the influence of lime and fertilizer (100 or 400 kg/ha N) application, loose dumped substrate vs. single pass grading and the resulting microtopography, on the survival and growth of planted 1:0 seedlings over seven years on reclaimed quarry overburden. Results: Grading had a negative impact on the survival of all species. Lime and fertilizer also influenced survival, but effects differed between species. A single application of fertilizer at the time of planting had a lasting and significant influence on the growth of all species. At year seven, across all species, microtopography influenced root collar diameter. The greatest growth was seen on the east upper, and west mid-slope positions. Conclusions: Fertilization and microtopography created by different site preparation techniques at the time of stand establishment can have a significant influence on tree growth over the first seven years

Editors\u27 Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig

A roadmap to this Special Issue of Mime Journal. This issue emphasizes the tissue of influences that shaped Craig’s own work and continue to impact contemporary theater and performance. By focusing on the historical contexts in which his ideas were developed and those in which they have been received, the essays counter the widely held perception of Craig as the solitary genius of the “Art of the Theatre.” His claims of originality and singularity have too often obscured the connections between his work and that of other artists—especially the dancer Isadora Duncan, upon whom two of the pieces included here focus. Our contributors are actors, directors, corporeal mimes, puppeteers, dancers, and scholars of theater, performance, dance, mime, puppetry, and print culture. All have been shaped by Craig’s vision; all have reckoned with his imperious and impassioned demands; all have probed his weaknesses—personal and professional—and resisted his prejudices. All respond provocatively to Craig’s work, making a strong claim for his continuing relevance even as they critique his life and career. Far from a hagiographic tribute to Craig, this issue takes up Craig’s contested legacy and contests it further

The Revolutionary: On Isadora Duncan and Edward Gordon Craig

Jennifer Buckley interviews dancer, choreographer, and teacher Lori Belilove on Isadora Duncan’s practice and legacy. Belilove argues for Duncan’s modernism, and emphasizes her impact upon Edward Gordon Craig’s developing aesthetic and his career. This edited transcription of their conversation takes its point of departure from Craig’s portfolio of six drawings of Duncan in action, Isadora Duncan: Sechs Bewegungsstudien, Insel Verlag, 1906. Belilove sees both Craig and Duncan as poised between late Victorianism and modernism, and she contends they shared a modernist impulse toward abstraction. Belilove also comments on her own practice as a performer and as a teacher passing on Duncan dances and technique to twenty-first century dancers

Contents - Edward Gordon Craig Special Issue 2017

Cover, front matter, and contents for Mime Journal Special Issue, Action, Scene, and Voice: 21st-Century Dialogues with Edward Gordon Craig. Guest editors: Jennifer Buckley and Annie Holt

Review of <i>Carrying All Before Her</i>, by Chelsea Phillips

A review of Chelsea Phillips’s Carrying All Before Her: Celebrity Pregnancy and the London Stage, 1689-1800, by Jennifer Buckle

Search for Gamma-ray Emission from Dark Matter Annihilation in the Large Magellanic Cloud with the Fermi Large Area Telescope

At a distance of 50 kpc and with a dark matter mass of $\sim10^{10}$ M$_{\odot}$, the Large Magellanic Cloud (LMC) is a natural target for indirect dark matter searches. We use five years of data from the Fermi Large Area Telescope (LAT) and updated models of the gamma-ray emission from standard astrophysical components to search for a dark matter annihilation signal from the LMC. We perform a rotation curve analysis to determine the dark matter distribution, setting a robust minimum on the amount of dark matter in the LMC, which we use to set conservative bounds on the annihilation cross section. The LMC emission is generally very well described by the standard astrophysical sources, with at most a $1-2\sigma$ excess identified near the kinematic center of the LMC once systematic uncertainties are taken into account. We place competitive bounds on the dark matter annihilation cross section as a function of dark matter particle mass and annihilation channel.Comment: 33 pages, 22 figures Version 2: minor corrections and clarifications after journal peer review proces