text:
Past Issues
- Kate Atwell
- Ryan M. Davis and Alex Ripp
- Ryan M. Davis on Miguel Gutierrez
- Jean Graham-Jones
- Rafael Spregelburd and Zypce
- Anna Viebrock and Marsha Ginsberg
- Helen Jaksch
- Andrew Friedman
- Robert Quillen Camp and Gavin Kroeber
- Isaiah Matthew Wooden
- Jacob Gallagher-Ross
- Sarah Bay-Cheng
- Bertie Ferdman
- Tom Sellar
- Conversations with:
- Lola Arias, Norman Frisch, Helen Cole, Matthias Lillenthal, Judy Hussie-Taylor, Ralph Lemon, Joanna Warsza, and Gavin Kroeber
- Hannah Hurtzig Photo Dossier
- Anne Erbe
- Madison Moore
- Peter Sellars and Faustin Linyekula
- Emily Carson Coates
- Helen Jaksch and Nick Slie
- Ng Yi-Sheng
- Tom Sellar
- Elise Morrison
- Michael Rohd
- Kenn Watt
- Aaron Landsman and Mallory Catlett's City Council Meeting
- Annie Dorsen
- Bertie Ferdman
- Bertie Ferdman, Ryan M. Davis, and Anne Erbe
- Renate Klett and Matt Cornish
- Lotte van den Berg and Tom Sellar
- Joanne Pottlitzer
- Guillermo Calderon and William Gregory
- Guillermo Calderon's Discurso
- Anne Erbe
- Daniel Brunet
- Alexis Soloski
- Ethan Lipton
- Ken Reynolds Photo Dossier
- Aya Ogawa
- Toshiki Okada
Volume 42, Number 3
- Gloria Pasterino
- Jacob Gallagher-Ross
- Jemma Nelson and Caden Manson
- Andrew Friedman
- Michael Shane Boyle
- Kirk Lynn
- Melanie Joseph
- Marc Bamuthi Joseph
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Volume 42, Number 2
- Digital Dramaturgies (Special Issue Editors: Miriam Felton-Dansky and Jacob Gallagher-Ross)
- Martin Harries
- Sarah Bay-Cheng
- John H. Muse
- Annie Dorsen
- Alexis Soloski
- Nick Salvato
- Christopher Grobe
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Volume 42, Number 1
- A Feeling for Risk: Notes on Kinesthetic Empathy and the World Performance Project by Joseph Roach
- Moving between, among, in the Midst: Intercultural Kinesis by Emily Coates
- My Screens Are Killing Me, or Watching Hurts: Maria Jerez and The Case of the Spectator by Sue-Ellen Case
- Touching Worlds: Performing the Cross-Cultural in and through Nameless forest by Elizabeth W. Son
- Unexpected Sensations: Joël Pommerat's Theater of Mystery and Contradiction by Emma Laurent
- I Tremble (1 and 2) by Joël Pommerat
- The Habit of Realism by David Levine, Marsha Ginsberg, Jason Grote, and Amy Holzapfel
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Volume 41, Number 3
- Krystian Lupa (Special Issue Coeditors: Piotr Gruszczyński and Tom Sellar)
- Krystian Lupa: In His Own Words by Tom Sellar
- Utopia 2 Penetrations by Krystian Lupa
- Trip to the Unreachable: On Solitude, Sacrifice, and the Magical Act by Krystian Lupa andBeata Matkowska-Święs
- Labyrinth by Krystian Lupa
- What Can Krystian Lupa Teach Us? by Piotr Gruszczyński
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Volume 41, Number 2
- Christoph Schlingensief (1961 – 2010) by Matt Cornish
- What Is Theater's Outer Limit of Great Length? by Jonathan Kalb
- The Euphoria of Anger by Adriano Shaplin and Tom Sellar
- Freedom Club by Adriano Shaplin
- Crossing Over: Sonja Arsham Kuftinec interviews Michael John Garcés
- Los Illegals by Michael John Garcés
- Judith Miller reviews the Théâtre du Soleil's Mad Hope
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Volume 41, Number 1
- A City Bruised: Belfast's Playwrights Negotiate the Path to Peace by Katherine Clarke
- Two Roads West by Laurence McKeown
- Back to the Word by KLIM, Tom Sellar, and Julie-Anne Franko
- Shakespeare's 12th Night (Excerpt) by KLIM and Julie-Anne Franko
- Theater Festivals and Their Audiences: A Forum with Brent Meersman, Savas Patsalidis, Max Glauner, Barbara Orel, and Rolf Dennemann
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Volume 40, Number 3
- Flash Mobs and the Diffusion of Audience by John H. Muse
- Urban Folk Art: Performance, Politics, and the Right to the City by David Freedlander
- Moving and Speaking through the Event, Once More: Participation and Reenactment in Jeremy Deller's The Battle of Orgreave, and Rimini Protokoll's Deutschland 2 by Bettina Brandl-Risi
- ADS by New York City Players
- Colombia's National Audiences by Adam S. Horowitz
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Volume 40, Number 2
- A Crisis of Purpose?: A Forum complied by Ryan M. Davis
- The Booking of the Play by George Hunka
- SOS by Jemma Nelson and Caden Manson
- Uncreative Writing: Nature Theater of Oklahoma's Romeo and Juliet by Karinne Keithley
- Nature Theater of Oklahoma's Romeo and Juliet
- The Ghosts of Wrocław: Grotowski's Local Legacies by Stephen Nunns
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Volume 40, Number 1
- Postglobal Dance (Special Issue Editors: Emily Coates and Joe Roach)
- David Barreda
- Emily Coates
- Thomas F. DeFrantz
- Susan Leigh Foster
- Yasmeen Godder
- Adam S. Horowitz
- Opiyo Okach
- Andréya Ouamba
- Yvonne Rainer
- Joseph Roach
- Reggie Wilson
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Volume 39, Number 3
- Bernd Stegemann: What Comes After Postdramatic Theater?
- Serbian Theater at the Crossroads: Essay by Ivan Medenica, Interview with Milena Bogaval and Milos Lovac, Biljana Srbljanovic's Barbelo, on Dogs and Children
- BAMBILAND by Elfriede Jelinek
- U.S. Playwrights on Language and the Iraq War
- Plus: Obama Dramas, Toy Theater Today, and Why Is Eclectic A Bad Word?
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Volume 39, Number 2
- The Censor's Verdict
- Liviu Malita interviewed by Tom Sellar
- In Cinderella's Shoes: Romanian Theater Twenty Years after Communism by Marian Popescu
- The Old Road Rapidly Aging: Changes in Romania's Theater since 1989 by Cristina Modreanu
- Silviu Purcărete's World byAndrea Tompa
- Portfolio: Helmut Stürmer and the Romanian Theater
- Clap If You Want To by Razvan Penescu
- Portfolio: Dragos Buhagiar's Stage Designs
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Volume 39, Number 1
- Brett Bailey and Third World Bunfight: Journeys into the South African Psyche
- Nothing to Do with Patience
- Michael Thalheimer Interviewed and translated by Jonathan Kalb
- The Communist Dracula Pageant by Anne Washburn
- The Lost Envelope by Pierre Mujomba
- Allen Kuharski on Krystian Lupa's Factory 2
- David Cote on Lókal Theatre Festival
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Volume 38, Number 3
- World Reports on Stage Supression
- Praise Zenega: Surveillance and Protest in Zimbabwe
- John Houchin: America's Fear of Live Bodies
- Miriam Felton-Dansky: Controlling the 21st Century
- Catherine Cole: South Africa's Truth and Reconciliation Cantata
- Not Clown by Steve Moore and Carlos Treviño
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Volume 38, Number 2
- Andrea Tompa's essay "Hungarian and Independent"
- A manifesto by director Árpád Schilling: Notes of an Escapologist
- An interview with director Attila Vidnánsky
- Anna Lengyel's article on changes in the Hungarian theater system
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Volume 38, Number 1
- In the field with Bauerntheater
- Report from Johannesburg
- Malcolm Purkey Interview
- Street Theater in India
- David Modigliani's Wireless-less
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Volume 37, Number 3
- Socìetas Raffaello Sanzio
- On the Tragedia Endogonidia: Joe Kelleher, Nicholas Ridout, and Daniel Sack
- Romeo Castellucci's Agamemnon and manifesto
- Tony Kushner on Brecht and Bush
- Ibsen Year: Books and Productions
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Volume 37, Number 2: The Veiled Monologues
- Adelheid Rosen and The Veiled Monologues
- The Soldier's Tale: From Iraq to London
- Who's Afraid of Rachel Corrie?
- Portfolio: Hotel Modern
- Christian Lacroix's Red
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Volume 37, Number 1
- Bettina Brandl-Risi: Imperfection on the German Stage
- Ong Keng Sen on the New Chinoiserie
- Grand Magasin
- Philippe Quesne
- Plus: Václav Havel, Eduardo Machado, Pascal Rambert and more
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Volume 36, Number 3
- Patrice Pavis: Calamity at Avignon
- Claudia Wilsch Case on Theresia Walser
- Theresia Walser's Our Forests Haven't Been This Wild in Forever
- Political Puppets: A photo dossier by Eileen Blumenthal
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Volume 36, Number 2
- Gitta Honegger on Elfriede Jelinek
- Elfriede Jelinek's Princess Plays
- Interview with Jelinek
- 30 Years of Théâtre du Soleil (Forum)
- Ariane Mnouchkine in Afganistan
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Volume 36, Number 1: Russian Theater: The Twenty-First Century
- John Freedman: Diary of a Moscow Critic
- Yana Ross: Russia's Generation Vexed
- Marina Dmitrievskaya: St. Petersburg's New Wave
- Nina Karpova: Russian Regional Theaters
- Ivan Virypaev's Oxygen
- Danila Privalov's 5-25
- 6 director interviews
- AKHE photo dossier
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Volume 35, Number 3: New York Then/New York Now
- Adrienne Kennedy: A Young Writer's Arrival
- Judson Poets' Theater Archives
- Charles McNulty on New York's Terminal Diva
- CiNE: An Immodest Proposal for the Public Theater
- Boozy: The Life, Death and Subsequent Vilification of Le Corbusier and, More Importantly, Robert Moses by Les Freres Corbusier
- Real Estate Forum
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Volume 35, Number 2
- Robin Detje: Frank Castorf's Never-Ever Land
- Richard Foreman's Disappearing Act (interview)
- The Vomit Talk of Ghosts by Kevin Oakes
- Plus: Heiner Goebbels, De Keersmaeker, Teatr Wierszalin and more
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Volume 35, Number 1: Theater and Violence
- Tom Sellar: Notes on Theater and Violence
- Mark Lord: We Are Not Safe
- Seven Seconds (In God We Trust) by Falk Richter
- Gulliver's Choice by Jonathan Kalb
- Robert Woodruff on Oedipus
- Moscow Remembers a Siege (forum)
- 24 Hours Are Not a Day by René Pollesch
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Volume 34, Number 3: Witold Gombrowicz's Century
- Allen Kuharski on staging Gombrowicz
- Gombrowicz in production (photo essay)
- Gombrowicz's Polish Memories
- A Feast at Countess Katlubay's, adapted by Michael Hackett and Anna Krajewska-Wieczorek
- Plus: Remembering Joseph Chaikin (Forum)
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Volume 34, Number 2: Change
- Elinor Fuchs on Plays and Planets
- Babylon Is Everywhere, or Petrolia Restor'd, a courtly masque and manifesto by David Levine, Gordon Dahlquist, and Michael Byrnes (CiNE)
- Eurydice by Sarah Ruhl
- Vassily Sigarev's Plasticine
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Volume 34, Number 1: Classics Reconditioned
- Molière's The Imaginary Invalid, translated by James Magruder
- Kleist's Penthesilea, translated by Douglas Langworthy
- Calderón's The Great Theater of the World, translated by Rick Davis
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Volume 33, Number 3
- Tom Sellar: Poland's Old and New Masters
- Polish Director Interviews
- Marsha Ginsberg (design portfolio)
- Barbara Ehrenreich's Nickel and Dimed on Stage
- Artists and Scholars in Conversation
- medEia by Dood Paard
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Volume 33, Number 2
- Jack Zipes on children's theater and globalization
- The Stones by Tom Lycos and Stefo Nantsou
- A Very Old Man with Enormous Wings , adapted from the short story by Gabriel García Márquez by Nilo Cruz
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Volume 33, Number 1
- Art Spiegelman's Drawn to Death: A Three Panel Opera
- Framji Minwalla on Homebody/Kabul
- Jonathan Kalb on the death (and life) of American theater criticism
- Jan Lauwers, interviewed by Erika Rundle
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Volume 32, Number 3
- Remembering Jan Kott (forum)
- Dragan Klaić: Restaging Europe
- Jimmy Carter Was a Democrat by Rinne Groff
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Volume 32, Number 1
- American theaters respond to 9/11
- Una Chaudhuri on Interculturalism after Postcolonialism and Globalization
- Artistic Directors on Criticism
- Editors on Theater Publishing
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Volume 31, Number 3: Theater and Social Change
(Alisa Solomon, Guest Editor)
- Lani Guinier and Anna Deveare Smith: A dialogue
- Jonathan Kalb on Documentary Solo Performance
- Essays, conversations, and statements by Arlene Goldbard, Holly Hughes, Tony Kushner, Robbie McCauley, Judith Malina, Bill Rauch, Alisa Solomon and many others
- I Love New York, or Starbucks out of Hell's Kitchen by Reverend Billy
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Volume 31, Number 2
- Experimental Playwriting: A Dialogue
- Expression under Pinochet: Four Theater Stories
- Rethinking Our Field: A Forum
- Showy Lady Slipper by Richard Maxwell
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Volume 31, Number 1: Theater and War
- Erika Munk on War Theater in Serbia
- Annabelle Winograd: Performances at the Western Front, 1914-1918
- Ruth Juliet Wikler on Spanish Civil War Agitprop
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Volume 30, Number 3: 100 Years of Kurt Weill
(Tom Sellar, Guest Editor)
- Peter Ferran on the Threepenny songs
- Kim Kowalke on Weill's American Dreams
- Bruce McClung on Myths and Monographs
- Previously unpublished Weill librettos (translated by Jonathan Eaton): Die Bürgschaft [The Pledge] by Caspar Neher and Kurt Weill; Royal Palace by Iwan Goll
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Volume 30, Number 2: New Music-Theater
- Eric Salzman on the origins of new music-theater
- Kyle Gann: Music Theater Lite for a Dark Age
- Jack Zipes on Shockheaded Peter
- Ben Katchor's Carbon Copy Building: A Comic Book Opera
- Rinde Eckert's Romeo Sierra Tango, Idiot Variations, and The Gardening of Thomas D.
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Volume 30, Number 1: New Translations
- Biljana Srbljanovic's Family Stories: Belgrade, translated by Rebecca Ann Rugg
- Thomas Bernhard's Minetti, translated by Gitta Honegger
- Racine's Phèdre, translated by Paul Schmidt
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Volume 29, Number 2
- Remembering Jerzy Grotowski (forum)
- Speaking of American Theater: Mark Lord, Suzan-Lori Parks, Erik Ehn, and Thalia Field
- The Guerrilla Girls
- Bindlestiff Family Cirkus
- The Myopia by David Greenspan
- My Mother's Courage by George Tabori
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Volume 29, Number 1
- Gitta Honegger: Beyond Berlin, Beyond Brecht
- Marc Robinson on Robert Wilson's Berlin Triptych
- The Race of the Ark Tattoo by W. David Hancock
- Lady from the Sea, by Susan Sontag (based on the play by Henrik Ibsen)
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Volume 28, Number 3
- 1968-1998 Theater Survey
- Manifesto 1998 by Maya Gurantz
- Legacies and Their Discontent by Gordon Rogoff
- A Memoir of the Living Theatre at Yale
Volume 28, Number 2
- Essays on Meyerhold by David Chambers, Katerina Clark, Nikolai Pesochinsky, and others
- Meyerhold's Petition from Prison
- Revizor: Episode Four, "After Penza" by Nikolai Gogol/Vsevolod Meyerhold
- An Excerpt From Harold Clurman's Unpublished Diary
Volume 28, Number 1
- Industrial Art: The Theater of Michel Vinaver by Gideon Lester
- Wole Soyinka: The Hunter, The Hunt by Olesegun Ojewuyi
- An Interview of Wole Soyinka
- The Interview— A Play in Thirty Pieces, by Michel Vinaver
- Pearls for Pigs, a play by Richard Foreman
Volume 27, Number 2-3
- Beyond the Wilson-Brustein Debate: Margo Jefferson, Eugene Nesmith, Alan Nadel, and others
- The Negro Units of the Federal Theater Project and their Plays
- Theater der Welt '96 in Dresden
- The Difficulty of Crossing a Field and Cat's—Paw, two plays by Mac Wellman
Volume 27, Number 1
- The Performance of Patriotism by Blanche Davidian
- Blasted, a play by Sarah Kane
- Germany Remembers Heiner Müller
- Forum on Theater and Money: Kathy Acker, Robert Brustein, Judith Malina, and others
Volume 26, Number 3
- Hey—Stop—That by Thalia Field
- Alice by Paul Schmidt
- Berlin/Berlin by Oana Hock Cajal
- Playwriting in Europe
- Resuscitating the Best American Play Ever Written
Volume 26, Number 1-2
- The Theater of Utopia by Tony Kushner
- The Utopia Parable by Mark Lord
- The Rules of Piracy and an interview with Kathy Acker
- Utopia Forum with Anne Bogart, Eric Bentley, Robert Wilson, Adrienne Kennedy, and others
Volume 25, Number 3
- South African Theater in Crisis by Carol Steinberg and Malcolm Purkey
- Truth and Consequences in Post-Apartheid Theater by Mark Gevisser
- Anne Bogart's Viewpoints
- Jan Kott: Essay and Interview
Volume 25, Number 2
- Brecht/"Brecht"—A Symposium with Gay Gibson Cima, Liz Diamond, John Willett, and others
- Peter W. Ferran on The Measures Taken
- Alisa Solomon on The Good Person of Szechwan
- Philoktetes, a play by John Jesurun
Volume 25, Number 1
- Play as Landscape: Another Version of Pastoral by Elinor Fuchs
- Essays by Una Chaudhuri, Sheila Rabillard, Peter Schumann, and others
- Charles Ludlam: A Memoir by Stuart Sherman
- An Interview with Elfriede Jelenek
- My Head Was a Sledgehammer by Richard Foreman
Volume 24, Number 3
- Erika Munk on Sarajevo and War Theater
- Dr. Divine Presents Baby Zoe's Midway Spectacular and Cabinet of Curiosities, by Len Jenkin and John Arnone
- Interviews with Susan Sontag and Sarajevo's actors
- Imperceptible Mutabilities in the Third Kingdom, a play by Suzan-Lori Parks
Volume 24, Number 2
- Essays by John Clum, Charles McNulty, Alisa Solomon, and others
- Angels in America, Devils in the Wings by Gordon Rogoff
- Mississippi Freedom: South and North by Robbie McCauley
- Terra Incognita, a libretto by Maria Irene Fornes
Volume 24, Number 1
- Essays on New American Theater by Elinor Fuchs, Marc Robinson, Mac Wellman, and others
- Richard Gilman and Harold Bloom on Chekhov
- The Oleanna Debate
- The Hour When We Knew Nothing of Each Other, a play by Peter Handke
Volume 23, Number 3
- Essays on the Ridiculous Theatrical Company, Theatre de la Jeune Lune, Dario Fo, and others
- "It's Fun to Have Your Hands Full of Green Slime and Not Know What It Is" by Stephen Haff
- Interviews with Paula Poundstone and Ken Campbell
- Dexter, a teleplay by Eric Overmyer
Volume 23, Number 2
- Essays on Seattle Children's Theater, outreach programs, Euripides raps in schools, and others
- A Postmodern Challenge: Universal Truths Need Not Apply by Sharon Grady
- Romeo and Juliet in East L.A. by Susan Mason
- Seeing Double: a Middle Eastern Comedy of Errors, a play by The San Francisco Mime Troupe
Volume 23, Number 1
- Essays on Robert Wilson, W.B. Yeats, Martha Graham, and others
- A look at the work of Native playwright Tomson Highway
- Postmodernism, or The Revenge of the Onanists by Framji Minwalla
- An interview with designer Ming Cho Lee
- Don't Start Me To Talking Or I'll Tell Everything I Know, a play by John O'Neal
Volume 22, Number 3
- Bread and Puppet Theater's The Foot
- When's the Play? Time and the Theory of Drama by Una Chaudhuri
- Essays on Beckett, Lorca, Wilson, and others
- A Post-Mortem for the Post-Modern by Roger F. Copeland
- Underground, a play by Joshua Sobol
Volume 22, Number 2
- The Last Decade: Stanislavski and Stalinism by Anatoly Smeliansky
- Richard Gilman on Chekhov's Ivanov
- Agit-Fantasy: Meyerhold's D.E. by Mel Gordon
- The Bathtub, a play by Paul Schmidt, adapted from Mayakovsky's The Bathhouse
Volume 22, Number 1
- New Artistic Directors: Anne Bogart, Emily Mann, Douglas Wager, and others
- Queen Lear: Reason Not the Need by Gary Jay Williams
- Notes on Swedish playwright Lars Norén
- Two Running Trains, a play by August Wilson
Volume 21, Number 3
- The Marc Robinson: New Writing
- New Writing and the Classics: an Exchange
- John O'Keefe: Impresario of the Unavailable
- The Death of the Last Black Man in the Whole Entire World by Suzan-Lori Parks
Volume 21, Number 1-2
- Revolution from 1789 to 1978
- Theatricalizations of the French Revolution: The Avignon Festival and the Goude Parade
- Breaking the Bond with Edward Bond
- Dario Fo's The Story of the Tiger, translated by Ron Jenkins
Volume 20, Number 3
- A Call of Peace, Disarmament and Theater
- The Effect of Glasnost: Soviet Theater from 1985 to 1989
- The Economic Experiment: Soviet Theater of the Last Decade
- The Theater of Joseph Stalin
- Cinzano by Liudmila Petrushevskaya
Volume 20, Number 2
- Changing Sex in Public: Female Impersonation as Performance
- "Not of Woman Born": Gender Politics in Greek Tragedy
- David Hwang's M. Butterfly: Perpetuating the Misogynist Myth
- Juan Darien: A Carnival Mass by Julie Taymor and Elliot Goldenthal
- Phaedra by Elizabeth Egloff
Volume 20, Number 1
- New Translators, New Translations
- Princes of the Clouds: Julius Slowacki and Kordian
- Victims of the Rococo: Marivaux and The Triumph of Love
- The San Francisco Mime Troupe: THE MOZAMGOLA CAPER
Volume 19, Number 3
- The Forest: A Preview of the Next Wilson-Byrne Collaboration
- Une Liaison Ennuyeuse: Wilson's Production of Müller's Quartet
- Heiner Müller's Der Lohndrücker, 1988
- The Piano Lesson by August Wilson
Volume 19, Number 2
- Peter Brook's Mahabharata: A View from India
- Myth and Music: Resonances Across the Continents and Centuries
- From the Dream to The Mahabharata: Or, Draupadi in the Deli
- Melons by Bernard Pomerance
Volume 19, Number 1
- Imaginary Invalids: A Theater of Simulated Patients
- Gay Rights and Revels: New York's Lesbian Pride Day
- How Much is that Royal Doulton Greyhound in the Vitrine?
- A Place with the Pigs by Athol Fugard
Volume 18, Number 3
- Toto: The Violence of the Marionette and the Mask by Dario Fo
- Zen and the Heart of Physical Comedy: The revenge of Murphy's Law
- Three Gags in Ludlum
- Ubu Rides Again: The Irondale Project and the Politics of Clowning
- Almost by Chance a Woman: Elizabeth by Dario Fo
Volume 18, Number 2
- Laurence Selenick: Melodramatic Gesture in Carte-de-Visite Photographs
- Camera Theatron: Sherman/Steichen
- Past, Present, Future Photography: an Essay and Photo Portfolio
- Green Card by Joanne Akalaitis
- From an Ant in Hell: The Warrior Ant, Part Four by Lee Breuer
Volume 18, Number 1
- Translations, Adaptations, Variations: A conversation with Eric Bentley
- "Nailed to a Circus of Blood" : Ajax at the American National Theater
- Sophocles's Ajax, adapted by Robert Auletta
- Jan Kott: The Bottom Translation
Volume 17, Number 3
- American Production Dramaturgs
- Interviews with Oskar Eutis, Russel Vandenbroucke, Amrtin Esslin, Anne Cattaneo, Arthur Ballet, Gitta Honegger, Richard Nelson, Mark Bly
- Joe Turner's Come and Gone by August Wilson
Volume 17, Number 2
- Brecht on Brecht
- Bertolt Brecht's Conversations in Exile, adapted by Howard Brenton
- Heiner Müller's The Slaughter, translated by Silberman, Fehervary, and Webeer
- Heiner Müller: To Use Brecht Without Criticizing Hun is to Betray Him
Volume 17, Number 1
- Theodora Skiptares: The Age of Invention
- An Open Couple by Franca Rame and Dario Fo
- Three Generations of Lighting Designers: An Interview with Peggy Clark Kelley, Jennifer Tipton and Danianne Mizzy
- Seeing with Clarity: The Visions of Maria Irene Fornes
Volume 16, Number 3
- The Sake of Argument: A New American National Theater
- Beyond Teacups and Wallpaper: The American Ibsen Theater
- A Stage of Learning: The Brecht Company
Volume 16, Number 2
- Lyubimov and the End of an Era: An Interview with Peter Sellars
- Watching Big Brother: Orwell's 1984 at Niagara-on-the-Lake
- Fallow Farm: Orwell's Animal Farm at the National Theater
- "Idi Amin Was the Supreme Actor": An Interview with Wole Soyinka
- Rum and Coke by Keith Reddin
Volume 16, Number 1
- The Road to Mecca byAthol Fugard
- Interview with Athol Fugard
- James Earl Jones on Fugard
- In Dialogue with Himself: Athol Fugard's Notebooks
Volume 15, Number 3
- Kroetz Before The Nest and After
- The Nest A Play of Ordinary Life by Franz Xaver Kroetz
- Thinking in Public: An Interview with Franz Xaver Kroetz
- Kroetz in San Francisco: Oskar Eustis on Neither Fish Nor Fowl
Volume 15, Number 2
- Ten Directors in Search of a Theater: Joanne Akalaitis; Adrian Hall; Mark Lamos; Emily Mann; Des McAnuff; Travis Preston; Peter Sellars; Stan Wojewodski, Jr.; Robert Woodruff; Garland Wright
- Chopin in Space by Philip Bosakowski
- My Life as Chopin: An Interview with Philip Bosakowski
Volume 15, Number 1
- Theatrical Texts and Social Context
- Socio-Criticism
- Theatrical Comprehension: A Socio-semiotic Approach
- Appearances Are Deceiving by Thomas Bernhard
Volume 14, Number 3
- About Face by Dario Fo
- Tadeusz Kantor on Wielopole, Wielopole
- Jan Kott on Kantor and Brook
- Robert Wilson and Beckett's Company
- Sam Shepard's Fool for Love
Volume 14, Number 2
- Eric Bentley Remembers Brecht's Life
- Valesa: A Nightmare by Jerzy Tymicki
- Interview with Jan Kott
Volume 14, Number 1
- Master Harold. . .and the boys by Athol Fugard
- Eric Bentley on Stark Young
- Eugene Lee's Stage Designs
- Andrei Serban's Marriage of Figaro
- Dario Fo's Obscene Fables
Volume 13, Number 3
- Dead End Kinds by Mabou Mines/JoAnne Akalaitis
- Ingmar Bergman on Ibsen, Strindberg, and Bergman
- A Midsummer Night's Dream at the RSC
- Jane Martin's Monologues in Louisville
- Eugene O'Neill's Unfinished Plays
- Christopher Hampton's Tales from Hollywood
Volume 13, Number 2
- Rip Van Winkle by Richard Nelson
- Jonas Barish's The Antitheatrical Prejudice
- Philip Glass's Satyagraha
- Meredith Monk's Specimen Days
- Reviews of Performances by Laurie Anderson, Robert Ashley, and Others
Volume 13, Number 1
- Tingeltangel by Karl Valentin
- Andrei Serban on Chekhov
- Contemporary Theater in France
- American Scene and Costume Designers
Volume 12, Number 3
- Madame Adare by Richard Foreman
- Sister Suzie at the Cinema by Lee Breuer
- The Sad Lament of Pecos Bill by Sam Shepherd
Volume 12, Number 2
- Howard Brenton's Sore Throats
- Martin Esslin on Johann Nestroy
- Eric Bentley on Bertolt Brecht
Volume 12, Number 1
- Augusto Boal, Enrique Buenaventura
- Essays on Shepard's True West
- Strehler's The Storm
- Weiss's Investigation
Volume 11, Number 3
- Euripides at Bay Translated by William Arrowsmith
- Jan Kott on Ajax and Philoctetes
- Peter Stein's Oresteia, Luca Ronconi's Bacchae, and Suzuki Tadashi's Trojan Women
- Antigone in Calcutta
- A.M. Nagler on Don Giovanni
Volume 11, Number 2
- A Lesson From Aloes by Athol Fugard
- Jan Kott on Ibsen
- Reviews from New York, New Haven, Berlin, and Cambodia
Volume 11, Number 1
- Mark Taper Forum's Playworks
- Heiner Müller's Cement at the Berkeley Stage
- International Festival of Children's Theater in West Berlin
- Carbbean Arts Festival in Havana
- New Jerusalem at the Public Theater
Volume 10, Number 3
- Interviews with the Guthrie, Yale Rep, Arena Stage, and Other Theaters
- Resident Theaters in Chicago
- David Mamet and Ted Tally on Playwrights and Regional Theaters
- Jan Kott's "Letters on Hamlet"
Volume 10, Number 2
- Accidental Death of an Anarchist by Dario Fo
- Great Britain's 7:84 Company
- Daniel Gerould on Political Cabaret in Poland
- Two Satires by Mayakovsky Translated by Jennifer Oille
- Piscator and the Legacy of Political Theater
Volume 10, Number 1
- American, British, and German Dramaturgs Speak Out
- The Snake Theater of Sausalito
- The Festival of American Mime
- A Review of Sam Shepard's Tongues
Volume 9, Number 3
- Derrida on The Theater of Cruelty
- Photography Portfolio: The Alfred Jarry Theater
- Interviews with Charles Marowitz and Andrei Serban on Artaud
- A Letter from Artaud to Henri Parisot
Volume 9, Number 2
- Plays and Play Exceprts by Adrienne Kennedy, Richard Foreman, and Many Others
- Interview with Jack Gelber and Amiri Baraka
- Essays by Sam Shepard, Robert Brustein, and Martin Esslin
Volume 9, Number 1
- A Retrospective of the West Berlin Theater Collective
- An Interview with Peter Stein and Dieter Sturm
- Review of Sam Shepard's Inacoma
Volume 8, Number 2-3
- An Essay on the Actor and Society
- The History of American Acting
- An Essay on Joseph Chaikin's Theory of Acting
- Interviews with Adler, Brustein, Chaikin, Meisner, Strasberg, and Others
Volume 8, Number 1
- Anthony Graham-White on Characteristics of Traditional Drama
- A South African Experimental Theater Workshop
- The Mwondo Theatre of Zaire
- Modern vs. Traditional Theatre in Nigeria
- A Review of Tennessee Williams's Memoirs
Volume 7, Number 3: Five Plays
- The Idiots Karamazov by Christopher Durang and Albert Innaurato
- The Marriage of Bette and Boo by Christopher Durang
- The Sovereign State of Boogedy Boogedy by Lonnie Carter
- The Transfiguration of Benno Blimpie by Albert Innaurato
- Madman's Diary by Nikolai Gogol, adapted by Eric Bentley
Volume 7, Number 2: Gorky
- Introduction: The Grand Illusionist
- Gorky, Melodrama, and the Development of Early Soviet Theatre
- Gorky vs. Pushkin
- Conversation with Sophie Dubinov
- Peter Stein's Gorky
Volume 7, Number 1
- Interview with Richard Foreman and Hotel for Criminals
- The Old Vic to Vincennes: Interviews with Michael Kustow and Peter Brook
- Tadeusz Micinski, The Ballad of the Seven Sleeping Brothers in China
- The Volksstücke Revival: Ödön von Horváth
- Reviews of The Island and Sizwe Banzi is Dead
Volume 6, Number 3
- Heat by William Hauptman
- Foreplay, Door Play by Robert Auletta
- Request Concert by Frank Xaver Kroetz
Volume 6, Number 2: Brecht, Wedekind, Felsenstein, Waja
- Notes on the Komische Oper of East Berlin
- Andrzej Waja on Theatre, Film and The Possessed
- Bertolt Brecht, Der Jasager
- Wedekind's Frosty Spring
Volume 6, Number 1
- Daumier at the Theater
- The Theatre of Franz Xaver Kroetz
- Eileen Blumethal, The Presence of Character
- Susan Yankowitz, The Land of Milk and Funny
Volume 5, Number 3
- Witikiewicz, Childhood Plays
- The "Voodoo" Macbeth of Orson Welles
- A Thirties Harlequinade: Artaud and Jean-Louis Barrault Ira Hauptman & Stephen R. Lawson on Strindberg
Volume 5, Number 2: Tonight We Improvise
- Richard Gilman on Pirandello
- A Conversation with David Shepherd
- Interview with Theodore J. Flicker
- Notes on The Proposition
- Improvising Aeschylus
Volume 5, Number 1: Watergate Classics
- Short plays in response to Watergate:
- Philip Roth, The President Addresses the Nation
- Robert Brustein, Dick's Last Tape
- Three Songs from the Dickado
- Art Buchwald, Instant Answers
Volume 4, Number 3: Music and Theater
- W.S. Gilbert and the Musical
- The Black Musical in America
- Drama and the Opera Libretto
- Theatre in Contemporary Music
Volume 4, Number 2
- Stanley Kauffman, Notes on Theater and Criticism
- John Pilkington, Letters of a Southern Drama Critic
- Ann Margaret and the Critic
- The Drama Criticism of Henry James
Volume 4, Number 1: Playwriting
- Fugard on Fugard
- Jacques Lecoq, Mime-Movement-Theatre
- The Plays of Tristan Tzara
- On Story Theatre
Volume 3, Number 3: Georg Büchner
- Robert Brustein: Büchner, Artist and Visionary
- Richard Gillman: Georg Büchner, History Redeemed
- Joel Schechter, Georg Büchner's Lost Play
- A Büchner Bibliography
Volume 3, Number 2
- Interview with George Steiner
- Interview Jorge Lavelli
- Jacques Burdick, Notes on the Pillory Theater
- Jonathan Marks on MacGowran's Beckett
Volume 3, Number 1: Design
- Emphasis: The Visual Image
- Donald Oenslager on Robert Edmond Jones
- Kandinsky and Kokoschka
- An Interview with Ming Cho Lee
- Eugene Lee, Slaveship Notes and Design
Volume 2, Number 3: Education vs. Theatre
- Emphasis: Education vs. Theatre
- Polarity and Stasis: Drama as Reflection of a Revolution
- The Stratford Repertory Theatre
- In Defense of "A Natural Formation"
Volume 2, Number 2: New Playwrights
- Eric Bentley, Quality in Theatre
- Sam Shepard: Paired Existence Meets the Monster
- Plays by David Epstein, Morton Lichter, Pamela Jones, Leo Rutman, Robert Patrick, Rochelle Owens, Emmanuel Yirenchi, Susan Yankowitz
Volume 2, Number 1: The Living Theatre
- Documents of Passage, Correspondence between Radical Theatre Rep & the INS
- Letters from the Becks
- The Living Theatre raps
- Flip pages, a creation collective
Volume 1, Number 3
- Ritual and Theatre
- Sex and the Censored Salome
- Dr. Keal by María Irene Fornés
- Sweet Eros by Terrence McNally
Volume 1, Number 2: Crisis 1968: Politics and Imagination
- Arnold Weinstein's new translation of Brecht's Mahagonny
- Lee Braxandall on Breakthrough
- Peter Weiss, The Necessary Decision
- Symposium: Theatre and American Political Life
- Methodman!
Volume 1, Number 1: Do we need Greek Theatre?
- Robert Brustein – No More Masterpieces
- Myth and Modern Theatre
- THE BACCHAE: From Four Sides
- Jan Kott – Ajax and the Grotesque
- Seven Against Thebes, The Life of Narrative
View this back issue online
- Bertie Ferdman
- Tom Sellar
- Conversations with:
- Lola Arias, Norman Frisch, Helen Cole, Matthias Lillenthal, Judy Hussie-Taylor, Ralph Lemon, Joanna Warsza, and Gavin Kroeber
- Hannah Hurtzig Photo Dossier


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Snapple Diet Lemon Iced Tea Reviews
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Comments about Snapple Diet Lemon Iced Tea:
Years ago I was introduced to Snapple when a friend offered me a bottle when I was leaving the gym. He had a large cooler in his truck and had several bottles of water, cans of soda and a couple of different flavors of Snapple. The only thing that was diet (outside of the water) was the Snapple Diet Iced Tea; normally I am pretty picky when it comes to iced tea that contains lemon. I like it to accent the tea but not be something that overpowers it.
I knew after the first sip that I would be adding it to my grocery shopping list. The taste was clean and brisk without the lemon taste staying in your mouth for a half hour after you finished the bottle. The only word of warning that I have about it is that it is sweetened with aspartame so if you are sensitive to that artificial sweetener its best to not have more than one bottle of this a day. Each sixteen ounce serving contains 10 calories, 15 milligrams of sodium and that's it. To get the best taste you do need to drink this ice cold.
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Comments about Snapple Diet Lemon Iced Tea:
Fantastic ice tea, it's the standard that all other bottled diet tea's are compared against, a great daily staple. Pour it over ice and it's a delight. I also love the snapple quick facts on the bottom of the cap, nothing better then learning an interesting fact while being refreshed.


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linkart Review
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London Symphony Orchestra
Formed in 1904 by a group of 46 musicians who had resigned from London's Queen's Hall Orchestra because of change in policy, the London Symphony Orchestra (LSO) is an ensemble of "firsts." It was the first orchestra in England to set up a self-governing administrative structure, the first to tour North America, and the first to accept commercial sponsorship. Known as one of England's most gifted and versatile ensembles, it is the resident orchestra at London's famous Barbican Centre. This and the fact that the LSO tours extensively; has provided music for countless films, radio broadcasts, and television productions; and records prolifically has helped to consolidate the group's reputation as one of the world's leading orchestras.
During the late nineteenth and early twentieth century, London musicians worked on a strictly freelance basis, finding work where they could for the highest possible fee. In 1904, Henry Wood, conductor of the Queen's Hall Orchestra, decided that he could no longer tolerate the chaos of the situation and hired players as full-time employees with a small but guaranteed wage for about 100 scheduled performances a year. Many of the best musicians, who were in great demand and who stood to lose a significant portion of their earnings through this restriction, resigned from Wood's ensemble and formed their own, self-governing orchestra.
Soon after its creation, the LSO invited Hans Richter to be its first conductor. He accepted the position on the condition that the orchestra increase its number to at least 100 players. Although Richter conducted a great many of the orchestra's concerts during his eight-year tenure, the group also attracted numerous other distinguished conductors to the podium. These included Nikisch, Steinbach, and Elgar. In so doing, the LSO promoted the idea of guest conductors in English musical society.
Two years after its foundation, the orchestra played its first concerts outside England; two concerts in Paris. Under the direction of Nikisch in 1912, the LSO became the first British orchestra to tour North America, presenting 28 concerts in 21 days, beginning and ending with performances in New York's Carnegie Hall.
Over the next 50 years, the LSO was lead by a number of gifted and distinguished conductors including Sir Thomas Beecham, Albert Coates , Sir Hamilton Harty, Josef Krips, Pierre Monteux, Istvan Kertesz, André Previn, and Claudio Abbado. All of these men, in addition to the many guest conductors and artists invited to work with the LSO, left their marks on the orchestra; shaping and honing the virtuosity of its players into an ensemble of great sensitivity and versatility.
The orchestra's association with the film industry began in 1922 when Walter Wanger, head of United Artists, hired the LSO to play for the presentation of silent films at Covent Garden's Opera House. Since then, the ensemble has provided music for numerous films including the Star Wars series for which the LSO won a platinum disc.
The LSO's connection with the BBC goes back to 1924 when Ralph Vaughan Williams conducted the orchestra in the premiere broadcast performance of his Pastoral Symphony. The LSO was the unofficial orchestra in residence for the BBC until the formation of the BBC Symphony in 1930 and has continued to broadcast concerts and provide background music for many BBC productions.
When Michael Tilson Thomas replaced Abbado in 1987, he set about securing the organization's financial as well as musical future by encouraging the LSO to accept corporate sponsorship. Conducted by Sir Colin Davis from 1995 to 2006, who was succeeded by Valery Gergiev in 2007, the London Symphony Orchestra has long enjoyed its well-deserved reputation as a pioneer in several areas of British orchestral history and is a highly versatile and distinguished world-class ensemble.
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Question: An ionized deuteron a bound proton neutron system with a net
An ionized deuteron (a bound proton–neutron system with a net +e charge) passes through a velocity selector whose perpendicular magnetic and electric fields have magnitudes of 40 mT and 8.0 kV/m, respectively. Find the speed of the ion.
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Answer to relevant QuestionsIn a velocity selector, the uniform magnetic field of 1.5 T is produced by a large magnet. Two parallel plates with a separation of 1.5 cm produce the perpendicular electric field. What voltage should be applied across the ...In a mass spectrometer, a beam of protons enters a magnetic field. Some protons make exactly a one-quarter circular arc of radius 0.50 m. If the field is always perpendicular to the proton's velocity, (a) What is the ...A straight current-carrying wire 25 cm long is oriented at right angles to a uniform horizontal magnetic field of 0.30 T pointing in the -x-direction. (a) Along which of the x-y-z axes would the current direction have to be ...In Exercise 30, if you wanted to double the field strength while keeping the current and turn count the same, what would the coil area have to be? A positive charge moves horizontally to the right across this page and enters a magnetic field directed vertically downward in the plane of the page. (a) What is the direction of the magnetic force on the charge: (1) into ...
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Anti-Establishment Right Makes Comeback Within Trump Administration
The 'campaign Donald Trump' is set to return in the coming weeks and months, with extensive reports of major staffing reshuffles in Trump world favoring operatives associated with the grassroots right that spearheaded the historic victory last year. This follows an evident shift to the right on policy emanating from the Trump administration, including Trump hammering NATO leaders on their failure to adhere to the terms of the alliance, siding with the Freedom Caucus against Paul Ryan on the border tax, and unveiling an impressive, conservative budget plan. A report by Axios suggests White House Chief Strategist Steve Bannon will be heading a new "war room" to take on the liberal media and their deep state sources, who are seeking to undermine the Trump presidency with questionable allegations of collusion with Russia. Bannon, the former head of Breitbart News, is regarded by nationalists as their strongest advocate within the administration. Although he was said to have been sidelined back in April, it appears the continued onslaught of negative media coverage has led Trump to re-embrace… Keep Reading


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When it comes to saving money, Americans have it all wrong. Actually, you could argue we're heading in the wrong direction.
A recent study chronicling how much money the average person has in a traditional savings account certainly isn't encouraging. This poll reports that more than 20% of the population doesn't have a savings account, while a staggering 62% have $1,000 or less.
Hardly the nest egg you can truly rest comfortably on, particularly if something goes wrong from a car transmission to roof leak. The idea behind having a savings account is quite simple: it's a combination of peace of mind and being able to have money on hand for the just in case marketplace. You can only imagine how taxing and frustrating it can be if you have a major repair or need money on hand, and you have a savings account that has seen better days.
Or doesn't even exist.
This is especially concerning given that any money needing to be on hand is non existent and thus the only way to pay for what you need is through borrowing and going further into debt. Taking on debt is one thing if you have the money to ultimately cover it at a moment's notice, but if you have a savings account under a grand, you don't have much room to move.
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Or is it just me? Maybe I need a break from it. Is it boring to anyone else?
- YesVote A
- NoVote B
Most Helpful Guy
Yes it does especially with the new updates.21|10|0
Yes it's too much newness. I preferred the old layout
Most Helpful Girl
Hella annoyingly boring.21|10|2


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1) Sometimes, when you click at a proxied link, you get a splash screen called "External Redirect" where you have to click at "Continue…" to load the external page.
2) And some other proxied links (the code in the html source looks exactly the same like the other ones) doesn't show such splash screens and rather directly load the external url.
I've also found that only situations like 2) are shown in the link proxy log. If you get a splash screen the use of the link is not recorded in the log (maybe a bug?)
Can someone please explain why external links are handled differently by the proxy system (see 1) and 2) above) and what exactly triggers how they are handled (if they show a splash screen or not)?
Thank you.


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text: Home Gallery Interactive (video) Kids Company Make It Stop - Carboard Charity Uses Vine to Highlight Children In Need Six second films by AMV.BBDO encourage donations to "unlock" another loop. Published on Apr 15, 2013 Editor's Pick UK charity Kids Company has turned to Twitter's Vine to highlight the plight of homeless, abused and neglected children in a new digital campaign through Abbott Mead Vickers BBDO. The six second Vine loop is followed by an on-screen call to "make it stop" and a text code enabling viewers to make an instant donation. Every text donation will unlock a second, "thank you" film which will show the same children in positive, safe scenarios. The Vine films have simply been created and uploaded on a smartphone, with no media spend or post production. Rate this Ad You must be registered to rate the ad. Please Login or Register Now About CreditsDateApr 15, 2013Agency:AMV BBDOClient:Kids CompanyCopywriter:Alex GrieveCopywriter:Antonia ClaytonArt Director:Adrian RossiArt Director:Eliot WykesAgency Planner:Louise NolderAccount Manager:James Walker-SmithAccount Manager:Jane EnglishTV Producer:Pete ShuttleworthTV Producer:Zoe CunninghamCreative Director, Kids Company:Jane Caldwell Tagscharity Vine CategorySocial Media Latest Creativity News on Ad Age Agency Brief: Where Is Everybody? Gallegos United Has a New CCO, Arnold Hires Alfson, Low Joins Ogilvy Beijing 'I Have a Huge Idea:' Wyclef Jean Wants to Work With Brands Related work Kids Company: Thursday Droga5 - Europe Kids Company: Print Happiness AMV BBDO London Kids Company: Make It Stop - Bin


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Question: Describe four underlying components of authentic leadership presented by Gardner
Describe four underlying components of authentic leadership presented by Gardner and his associates.
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Answer to relevant QuestionsWhat are the major obstacles often encountered in trying to achieve full diversity?What are the key elements of the strategic management process?What is the difference between people-and task-centered strategies for minimizing resistance to change?The best indicator of an organization's readiness to respond to a crisis is how it rates on five factors. What are these five factors?1. In what way(s) has Ken Frazier demonstrated his effectiveness as a crisis leader?2. Given our discussion on the distinction between a traditional and learning organization, what type of organization is Merck? Support your ...
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Motivated Owner Demands Result- For Sale or Lease
14, Watts Road, Sockburn, Christchurch City
By Negotiation
- Proposed Usage
- Industrial
- Floor Area
- 5628.00 m²
- Land Area
- 11279.00 m²
- Property ID
- 1bqyjvm
- 5,628sqm of warehouse, distribution, bulk retail and office
- Large landholding of 11,279sqm, in a prime Sockburn location
- Three access points; two off Watts Road and one off Main South Road
- 67% NBS (mezzanine office 34%)
This property is superbly located in Sockburn with easy access to Main South Road and Blenheim Road. Abundant car parks and opportunity to add more building area if required.
There is an opportunity here; either tenant part or all of the building or purchase and plan for the future. A purchaser can benefit from the existing income stream while you plan for the future of this hugely attractive property in an outstanding location.
Existing sub tenants have expressed interest in staying on. Sub tenant rentals are $128,517.18 + GST approximately (included in net rental below)


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Turning Top scores meaningful win
INGLEWOOD, Calif.- Turning Top's win in Saturday's
at Hollywood Park produced milestones for the 4-year-old filly, her 26-year-old trainer Simon Callaghan, and her 37-year-old jockey Brice Blanc.
Turning Top won her first graded stakes in the Grade 3 Beverly Hills. It was the first win at the graded level in the United States for Callaghan, who relocated from England to California last winter, and for Blanc, the Beverly Hills was his first graded stakes win in more than two years.
Turning Top ($10.40) ran 1 1/4 miles on turf in 2:01.69, catching pacesetter Princess Taylor in the final furlong to win by a length and record her fourth consecutive win. Restless Soul, who was fourth early, closed some ground in the stretch to finish third in the field of eight fillies and mares. General Consensus, the 4-5 favorite, finished fifth after racing in seventh for the first six furlongs.
Princess Taylor, a 6-year-old British-bred mare, set a slow pace of 25.55 and 49.83 seconds, which helped her to finish second and earn her first graded stakes placing in the United States. She placed in three stakes in England earlier in her career.
Blanc had Turning Top in second on the backstretch, moved closer to Princess Taylor on the turn but did not ask the winner for a full effort until the stretch.
"I think he was content to keep her in behind on the turn because it was her first time at the distance," Callaghan said.
Owned by Michael Tabor, Turning Top, an Irish-bred by Pivotal, has won 6 of 15 starts and $176,943. Her current winning streak began with a win in an optional claimer at Santa Anita in April and has included three wins at this meeting. Prior to the Beverly Hills she won an allowance race in May and the restricted Redondo Beach Stakes on June 5.
Callaghan, who trains eight horses at Santa Anita, said Turning Top will be pointed for the $250,000 John Mabee Stakes, a Grade 1 for fillies and mares over 1 /-8 miles on turf at Del Mar on Aug. 15.


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|Message view
|« Date » · « Thread »
|« Date » · « Thread »
|"Rick Curtis (JIRA)" <j...@apache.org>
|[jira] Commented: (OPENJPA-1767) OneToMany relationships owned by the many side aren't properly evicted from the DataCache
|Wed, 18 Aug 2010 19:13:16 GMT
[ https://issues.apache.org/jira/browse/OPENJPA-1767?page=com.atlassian.jira.plugin.system.issuetabpanels:comment-tabpanel&focusedCommentId=12899966#action_12899966 ] Rick Curtis commented on OPENJPA-1767: -------------------------------------- After further research I believe the problem is more widespread that just OneToMany relationships. The problem is when committing data to the datacache we need to check if the owning side of a relationship has a dirty relationship field. If that field is dirty we need to ensure that the referenced side of the relationship is kicked out of the cache. > OneToMany relationships owned by the many side aren't properly evicted from the DataCache > ----------------------------------------------------------------------------------------- > > Key: OPENJPA-1767 > URL: https://issues.apache.org/jira/browse/OPENJPA-1767 > Project: OpenJPA > Issue Type: Bug > Components: datacache > Affects Versions: 2.0.0, 2.1.0 > Reporter: Rick Curtis > Priority: Critical > > When working on OPENJPA-1469 I found that the test org.apache.openjpa.persistence.spring.TestLibService fails because we have stale data in the cache. To recreate this failure, set "openjpa.DataCache","true" in the setup() method. > The net of the problem is that if the non-owning side of the relationship exists in the datacache and the relationship is updated on the owning side, the non-owning side doesn't get updated. -- This message is automatically generated by JIRA. - You can reply to this email to add a comment to the issue online.
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Does anyone have a recipe for a laundry pretreatment that does not have ammonia in it?
By Deborah from Midlothian, TX
Add your voice! Click below to answer. ThriftyFun is powered by your wisdom!
Buy a bar of genuine soap, either Fels, Zote, or Octagon. Dampen the stain with water and rub the bar of soap on the stained area. Launder.
While you asked for recipe without ammonia.
Unless you are allergic to ammonia, you may want
to try the following recipe, it works quite well for me.
Ammonia cuts grease!
This was in "Cheaper & Better" by Nancy Birnes
1/2 cup ammonia
1/2 cup white vinegar
1/4 cup baking soda
2 tablespoons liquid soap or Soft Soap
2 quarts of water
Use in spray bottles.
Dawn dish detergent does wonders. I wet the stain then rub in a little dawn before I throw it in the washer. Also used it on ink mark on leather purse and it took it out. I never buy prewash products.
Try Odorban it works You can get it at Walmart
Add your voice! Click below to answer. ThriftyFun is powered by your wisdom!


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Ratings: 6.6/10
Genre(s): Drama | Sci-Fi
Directed by: Phillip Noyce
Released On: 15 August 2014
Star Cast: Brenton Thwaites, Jeff Bridges, Meryl Streep
Story: This film, based on Lois Lowry's book, tells the story of a perfect world. Everyone here is happy. When Jonas is 18 years old, he's chosen to be the community's Receiver of Memories. He enters into training with an old man called The Giver. From the Giver, Jonas learns about pain, sadness, war, and all the unhappy truths of the "real" world. He quickly realizes that his community is fake.
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Friday, 8 February 2008
Nan Goldin
A post over at the thought-provoking blog, Subjectify got me thinking about Nan Goldin, and so did this image from a greeting card. The signs weren't good from the start.
1 comment:
- subjectify said...
they should be naked. then it would be perfect.
- 8 February 2008 at 22:19
Subscribe to: Post Comments (Atom)
Featured post
"I still don't understand why it didn't just end here"
I saw a Twitter post with the picture of Trump mocking a reporter with cerebral palsy. "I still don't understand why it didn'...


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Primitive signs create a warm and welcoming feeling in the home. A primitive sign is typically long and narrow allowing it to go on almost any small wall area. Primitives signs are popular year round. You can consider changing the primitive signs in your home with each season or major holiday. Signs can be fun for your guests to read. Making your own primitive signs opens up your opportunity to have a unique one-of-a-kind sign to display. Primitive signs are also good items to sell at craft fairs or flea markets.
Things You'll Need
- 14 inch x 4 inch wide worn wood
- 320 grit sandpaper
- 12 inch x 3 1/2 inch stencil
- Acrylic paint--assorted dark colors
- Small paint brushes
- 2 Alligator hangers with screws
- Screwdriver
Select your wood. Choose a piece that has a worn or weathered look. Wood with character marks are best.
Sand your piece of wood to remove any splinters. Do not sand to a perfect finish. Remove dust.
Place your wood on a flat surface.
Paint the wood any dark color using your acrylic paint. Allow to dry.
Lay your stencil on top of the wood.
Paint inside the stencil onto the wood. Use drab or dull colors.
Lift the stencil straight up off the wood so you do not smear any of the paint. Allow to dry.
Outline the stencil design in a dark acrylic paint. Allow to dry.
Sand the entire surface of the sign. Sand harder and more often at the edges and corner.
Sand some of the paint away to make the sign look worn.
Use a screwdriver and the screws that came with the hangers to attach one alligator hanger on the back of the sign 2 inches from the outside left edge. Attach the other alligator hanger on the back of the sign 2 inches from the outside right edge. Be sure to place the hangers even with each other.
Tips & Warnings
- Free hand your own signs without the use of stencils.
- Create your own stencil using your computer, printer and word processing software. Simply design, print and cut out the lettering. Then use these homemade stencils as you would any other.
- Make different sizes of primitive signs. Hand some of them vertical and some horizontal. The variations in size are one of the charming aspects of primitive signs.
- You may finish your sign by applying a clear thin coat of polyurethane to the surface. Be sure to wait until all the paint has dried. Allow the polyurethane to dry completely before adding another coat.
Related Searches
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Old time store owners and farmers didn't have access to modern sign-making materials. Advertising signs were hand painted on found barn wood...
How to Make Primitive Country Decorations
Homespun and handcrafted are two words you'll often hear in association with primitive country décor. Taken from the decorating styles of early...
How to Make Primitive Signs With Stencils
Making signs is a wood-craft pastime that has been around for generations. Handmade wooden signs can lend an air of welcome to...
How to Make Primitive Crafts
Make your own handcrafted designs based on a primitive décor taken from early American colonials. Handmade primitive crafts often use natural materials...
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Stencil templates are reusable plastic sheets in which a design has been cut. The stencil is used to paint the design onto...


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My 1977 Wedding Pictures are ruining in the album that they came in. So, my daughter is wanting me to scrapbook some of them.
My Question is what paper will look good with 1977 wedding pictures that look kind of yellowish, you know how the 70 and 80 pictures look. Please someone help me. I have looked everywhere and can't find any paper that will look good with these pictures.


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Below is our collection of tidbits, odds 'n ends for Society Hill.
This page contains two sections:
We spend a lot of time looking through Gazetteers & Almanacs that were published in the late 1800's and early 1900's. Many of the Gazetteers include the distance from a community such as Society Hill to various places of note, such as the White House.
With a nod to our favorite Gazetteers, the straight-line distance<1> beginning in Society Hill to:
We have found 5 communities that share the name Society Hill.
While the name Society Hill is unique within Alabama, we know of another 5 communities with the same name in the United States.
Communities Outside of Alabama
Saint Mary's County
Our profile page for Society Hill, Saint Mary's County [Map]Distance: About 637 miles [1,025.2 km] to the Northeast
Jefferson Davis County
Our profile page for Society Hill, Jefferson Davis County [Map]Distance: About 269 miles [432.9 km] to the West Southwest
New Jersey
Middlesex County
Our profile page for Society Hill, Middlesex County [Map]Distance: About 826 miles [1,329.3 km] to the Northeast
Philadelphia County
Our profile page for Society Hill, Philadelphia County [Map]Distance: About 772 miles [1,242.4 km] to the Northeast
- Return to top
South Carolina
Darlington County
Our profile page for Society Hill, Darlington County [Map]Distance: About 352 miles [566.5 km] to the East Northeast
Visit our Community Index for Alabama
About Macon County
About Alabama
Unfortunately, we don't know of a website for Society Hill. If you can help, please contact us through our Feedback Page.
The official website for State of Alabama: www.alabama.gov/
- Return to Citation
For additional information, please visit our Glossary for Society Hill.
Please keep in mind that we can not guarantee the accuracy or timeliness of the information
on this website, so use with care. We encourage you to double-check the information that is critical to you.
If you've found an error or have additional information that you would like to share,
please don't hesitate to write. Click here to contact us.


text:
Here is the guide to get Yu-Gi-Oh! Duel Links for PC. Now, Through some really easy steps, you can get the dedicated mobile app of Yu-Gi-Oh! Duel Links for PC as well and place it on your desktop for instant access.
If you are not new to the Game and want to see the method to download Yu-Gi-Oh! Duel Links for PC, skip 'About the Game' section below and scroll down to the guide to download Yu-Gi-Oh! Duel Links for PC.
About the Game:
The Trading Card Game by Konami is one that you can enjoy playing on your PC with an entertaining gameplay and much more to look forward in the game. The game can be played in different modes which is the most fun part; you can choose to play in Duel or Single Campaign mode. Also, you can play with Yugi, Kaiba, Joey, Mai in the Duelists and complete various missions assigned to you. If you are more interested in getting on the leaderboard, you can play in the PvP mode with other players from around the world.
Yu-Gi-Oh! Duel Links
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Guide to Download Yu-Gi-Oh! Duel Links for PC
Getting Yu-Gi-Oh! Duel Links for PC is really simple. The methods that have been mentioned here to download Yu-Gi-Oh! Duel Links for PC do not require you to be a tech expert and even if you have little knowledge about technology, you can still get Yu-Gi-Oh! Duel Links for PC by following the step by step guide given below.
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Yu-Gi-Oh! Duel Links by KONAMI


text: Pregnant Stars Who Take to The StageSection:Pregnant celebrities Carrying on with your day job whilst pregnant is no easy task. Inbetween struggling to tie your shoelaces, morning sickness (and don't get us started on 'baby brain'!), it's sometimes hard to concentrate. But for these famous ladies, rocking a baby bump was just another stunning stage accessory. Una FodenThe Saturdays singer has just announced she's pregnant with baby number two, but that didn't stop her rocking the stage during The Saturdays' Greatest Hits Live tour.BeyoncéThe Queen of Pop famously revealed her pregnancy on the VMA stage in 2011, wearing a classy sequined tuxedo. And here she is looking equally as stunning on the red carpet. (Image Rex) Christina AguileraAs a singer and judge on The Voice, Christina is known for her powerful performances on stage, and she showed no sign of slowing down at the KIIS FM 'Wango Tango in Los Angeles recently – proudly showing off her bump in a lovely lace number. (Image: Rex) ShakiraShakira proved that being pregnant needn't stop her performing 'Whenever Wherever'. The 35-year-old singer and her baby bump closed off the FIFA U-17 Women's World Cup in Azerbaijan in style.Rebecca FergusonNot long after sharing her exciting pregnancy news on Twitter, Rebecca graced the stage at the Symphony Hall in Birmingham, wearing a gorgeous purple gown (but we're yet to see a bump!) (Image: Rex) Michelle HeatonLiberty X singer Michelle didn't let her baby bump get in the way when she performed in a sparkly jumpsuit at The Big Reunion Christmas Party at London's O2 Arena last December - and she still managed the energetic dance routine! (Image: Rex) CiaraSinger Ciara's pregnancy didn't stop her taking to the stage and for a polished performance at the Grammys after party earlier this year. But first, she wowed us on the red carpet in this glamorous gold gown. (Image: Rex) Alicia KeysSongstress Alicia held concerts throughout her pregnancy, but did have one slightly risky incident after falling down on stage in 2010. Fortunately everything was fine for her – and her baby. When she wasn't up entertaining crowds on stage, she was giving us a masterclass in maternity red carpet style. (Image: Rex) The SaturdaysThe Saturdays are experiencing a bit of a baby boom of late, with three of the pop band's members now happy working mums. Frankie, Rochelle and Una all carried on perfoming throughout their pregnancies, looking every inch as glamorous as per usual.Erin BoagStrictly veteran Erin Boag famously kept exercising throughout her pregnancy and even took to the dance floor for a strenuous performance whilst 22 weeks pregnant (head to toe in sequins of course!) (Image: Rex) Author: Sarah GibbonsSarah GibbonsRelated content by tag: working mumcelebrity mumMost popular articles in Pregnant celebrities1) Pregnant celebrities of 2017 - who's expecting this year?2) Pregnant Kelly Rowland Shows Off Baby Bump In Nude Photo3) Maternity Products Celebrities Swear By


text:
Breakfast with Santa at the Cottage
Saturday Dec 7th 9am-10am, 2013
This event has already occurred
Meet Santa and enjoy a fun breakfast. $10 per child or bring 2-3 pair of new socks for kids up to age 12. Reservations: Call 781.239.1100 Donations benefit Cradles to Crayons.
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- www.shoplindensquare.com
- Facebook Page


text:
Learn And Share With Us
26 February 2012
Filed under Black White, Human, Ritual, Wedding & Prewedding
Tagged with bali, balinse wedding, black and white, ritual, wedding
About JaniBaliFree Thinker, Love To Eat and Laught
Love Travelling
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text:
Most Helpful Guy
No it should not
Cannabis has negative implications even at small doses, alchohol doesn't.. cigarettes are already legal. Thats enough
But its ok if some countries and states allow it, overall everyone is soft on cannabis use... so its no biggie either way00|00|0
Most Helpful Girl
It's hard to say. Yes it's a plant that is useful for medical purposes. But many people become addicted to weed, kill off their brain cells, become lazy and lose ambition to do anything besides get high, and legalizing weed may convince street chemists to produce even more dangerous, crazy drugs.11|00|0
thanks for mho :)


text:
You know that kind of sob that starts in your chest, rattling around like a tiger trying to escape its cage, the sob escalating into an involuntary shudder because it has nowhere else to go? This sadness has more of a rich texture to it, starting somewhere deeper than a superficial tear. Starting in your heart. Something in the moment, in your resolve, breaks, and you start to crumble.
Imagine feeling that — or rather, recall feeling that — and picture that experience happening in a movie theatre. Surrounded by at least 30 other moviegoers. Imagine that every single other person in the theatre is going through the same experience. That was the experience I had going to see The Impossible in theaters.
I knew going in that I was going to cry. I have a panic reflex to tidal waves (the end of Deep Impact, anyone?). And maybe it's funny because I share my name with a mermaid. But drowning is one of my biggest fears. I even find snorkeling stressful. We're not meant to breathe underwater, ok, so it just seems like tempting fate. In any case, I knew that the reenactment of the tsunami would be hard to watch.
But truthfully, the tsunami is an oddly detached moment. Because of the nature of a tidal wave, to completely consume everything without exception, I found myself numb watching it unfold before my eyes. What really got me, and what gets me every time, are the little moments of kindness, of emotional connection. I think about going through that situation and I'm not sure how I would react, if I would have what it takes to survive. The hardest part about watching The Impossible is that it's about family.
I'm not sure how many people know the resolution of this true story going into the film; I did. But that didn't diminish the experience for me. There were moments that, had I been alone, I would have been absolutely destroyed. As it were, I shuddered with sadness A LOT. And then I would settle down and continue watching until another moment came along and I lost it.
Needless to say, I wore waterproof mascara and it worked (recommended).
Lucky for you, you can watch it in the privacy of your own home, now that it's out on DVD, etc. You can get as Lauren Conrad streaky mascara as you'd like.


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Photo Flash: CARMEN Opens at the Met
Bizet's Carmen will return to the Metropolitan Opera on November 4 in Richard Eyre's critically acclaimed production, featuring star mezzo-soprano El?na Garan?a as the alluring Gypsy seductress; rising tenor Brandon Jovanovich as her lover and victim, Don José; Nicole Cabell as the innocent Micaëla; and John Relyea, singing the toreador Escamillo for the first time at the Met. English National Opera Music Director Edward Gardner, who is making his Met debut, will conduct all Carmen performances this season.
Richard Eyre's production of Carmen earned widespread praise when it premiered at the Met last season. The New York Times admired Eyre's ability to "uncover the rawness and daring at the opera's core." Critics were similarly enthusiastic about El?na Garan?a's performance in the title role, with New York Magazine calling her "the most convincing Carmen in a long time...her voice glides with liquid smoothness from the upper range down to the chesty low tones" and the Times finding her portrayal "captivating...nuanced, sexy, and cagey."
On January 5, 26-year-old Georgian mezzo-soprano Anita Rachvelishvili, who made a high-profile debut in Carmen at La Scala last year, will make her Met debut in the title role. The Times hailed her La Scala debut as "a triumph...whenever Ms. Rachvelishvili tossed her long dark locks, smitten Spanish soldiers fell onstage like dominoes." She will sing opposite Roberto Alagna, whose Don José in the production's premiere last season earned considerable critical praise. Rachvelishvili and Alagna will be joined by two singers making their Met role debuts: Genia Kühmeier as Micaëla and Tony Award winner Paulo Szot as Escamillo.
Carmen features sets and costumes by Rob Howell, lighting design by Peter Mumford, and choreography by Christopher Wheeldon. Viktoria Vizin will sing the role of Carmen on December 9 and Hei-Kyung Hong will sing Micaëla on December 4 and 9.
Live Broadcasts Around the World
Carmen will be experienced by millions of people around the world this season on the radio and on the internet, through distribution platforms the Met has established with various media partners.
The November 4 opening performance will be broadcast live on Metropolitan Opera Radio on SIRIUS channel 78 and XM channel 79, as will the performances on November 8, 16, 24, 30, and January 13.
The November 4 and 30 performances will also be available via internet streaming at the Met's web site www.metopera.org.
Photo Credit: Brent Ness


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Britain's FTSE 100 fell sharply and the pound surged the most in three months after the country's High Court ruled that lawmakers must vote to trigger the clause that will launch its exit from the European Union.
The pound gained more than 1.1% against the U.S. dollar immediately following the ruling, its biggest one-day rise since August, to trade at 1.2441, the highest in nearly a month. The FTSE 100, however, which derives more than 75% of its revenue from outside the U.K., fell quickly in the aftermath of the decision, giving back earlier gains to trade 0.51% lower at 6812.3.
However, U.K. bank stocks, which have suffered since the June 23 vote on concern that some would lose their ability to sell financial services into the eurozone, rose sharply, with Royal Bank of Scotland (RBS) gaining 5.5%, Lloyds Banking (LYG) adding 3.15% and Barclays (BCS) advancing 2.8%.
Broader European shares added to modest gains and were quoted marginally higher across the board after the High Court ruling. Sentiment, however, is still being held back by political risk concerns as narrow U.S. election polls overshadowed trading in Asia following the worst losing streak for the S&P 500 in over five years.
One of the more significant downside movers in early trading were shares of Credit Suisse (CS) , which fell by around 4.9% in Zurich after the Swiss lender's CEO warned of "challenging" conditions in the months ahead.


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The Wall Street Journal is reporting that people "familiar with the matter" say that Nokia and Microsoft were thinking about making a joint bid for Blackberry manufacturer Research In Motion. There were informal meetings that took place in recent months, but nothing resulted out of these talks as RIM is not willing to sell any of its assets.
Why would Microsoft and Nokia want to make that move? There's absolutely nothing to recycle from BB OS but for BBM and other tools enterprise users love like BES and the enhanced security features such as two factor authentication. I can see how having a BBM-enabled Windows Phone would be appealing to a large base of users, but the cost of buying RIM just for those features seems unthinkable of. It's going to be an interesting new year for RIM, I feel like something drastic could happen while RIM waits to finally be able to ship BB 10 devices by the end of 2012.
On another note, it's interesting and indeed reassuring to see that Nokia and Microsoft are working together in the mobile industry. Making a "joint bid" further reassures each company's commitment with another.


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Cretan mullein
Definition of Cretan mullein
: an erect herb (Celsia cretica) with broad oblong leaves and irregular short-stalked flowers in loose elongate clusters found along the Mediterranean
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