Review: A Publication of LMDA, the Literary Managers and Dramaturgs of the Americas, volume 17, issue 1

Contents include: Editor\u27s Page: A Note from New LMDA President, Brian Quirt; Think Dramaturgically, Act Locally! A Conference Overview; I Was Mugged at My First LMDA Conference; First-Timer Fragments; Conference Photos; Introducing the Lessing (and Joe and Michael); A Message Faxed from Romania; Acceptance Speech, Michael Lupu; Producing The Belle\u27s Stratagem; Dramaturging Justice: The Exonerated Project at the Alley Theatre; Past President Liz Engeleman: Some Appreciations; The Toronto Mini-Conference (reprinted from the LMDA Canada newsletter); Gateway to the Americas, The LMDA Delegation, A Report from Mexico; Imag[in]ing Poverty: Creative Critical Dramaturgy for Suzan-Lori Parks\u27s In the Blood; Hester, La Negrita in Iowa City, Staging Spells and Homelessness in Suzan-Lori Parks\u27s In the Blood; The Future of Theatre is...(a creative contest); Seventh Annual Call for LMDA Residency Proposals. Issue editors: D.J. Hopkins, Madeleine Oldham, Carlenne Lacostahttps://soundideas.pugetsound.edu/lmdareview/1034/thumbnail.jp

Staging The Jew: The Performance Of An American Ethnicity, 1860-1920

https://works.swarthmore.edu/alum-books/1292/thumbnail.jp

VenUS IV (Venous leg Ulcer Study IV) – compression hosiery compared with compression bandaging in the treatment of venous leg ulcers: a randomised controlled trial, mixed-treatment comparison and decision-analytic model

Compression is an effective and recommended treatment for venous leg ulcers. Although the four-layer bandage (4LB) is regarded as the gold standard compression system, it is recognised that the amount of compression delivered might be compromised by poor application technique. Also the bulky nature of the bandages might reduce ankle or leg mobility and make the wearing of shoes difficult. Two-layer compression hosiery systems are now available for the treatment of venous leg ulcers. Two-layer hosiery (HH) may be advantageous, as it has reduced bulk, which might enhance ankle or leg mobility and patient adherence. Some patients can also remove and reapply two-layer hosiery, which may encourage self-management and could reduce costs. However, little robust evidence exists about the effectiveness of two-layer hosiery for ulcer healing and no previous trials have compared two-layer hosiery delivering ‘high’ compression with the 4LB

The German-Jew that Bandmann drew: Daniel E. Bandmann’s Shylock on the Australian colonial stage, 1869–1870

Anae, N ORCiD: 0000-0001-8441-2771A particularly noteworthy tragedian enacting Shylock on the Australian colonial stage between 1869 and early 1870 was visiting German touring star Daniel Edward Bandmann (1840–1906). His Australian tour in its initial stages was framed within the discourse of legitimacy, based both on his success in mastering the English language and perhaps above all on his ability to withstand the test of critical English audiences. Yet, the reportage of his appearances as Shylock tracked a radical turn toward a dramaturgical reconceptualisation of the part. This paper contends two separate but interrelated points: that as a German-Jewish actor Bandmann's Shylock both evoked the dramaturgical techniques of the British theatre in this role and pushed the limits of English conventions essentially to rework the enactment of Shylock for a modern Victorian audience for specific dramaturgical ends. The examination draws extensively on extant Australian colonial press ephemera covering Bandmann's tour to re-read his enactment of the role as a revolution polarising the critical nineteenth-century debates about Shylock’s emotional aesthetic, and by extension, explores Bandmann's influence in reimagining the so-called “Jew that Shakespeare Drew” in The Merchant of Venice. In this way, the analysis reclaims Bandmann's dexterity in manipulating the potential of The Merchant of Venice to redirect audiences’ attention back to the conditions and representations of colonial race politics