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Hot in Tobruk
Well the event is over, and much fun was had. The ratio of British to Germans was about 4:1, so it was rather fast getting in as Germans, and the British Cruisers. When I tried my Matilda it took over three minutes. So let that be a lesson, if there's a huge number of one side, go play the other team!
The highlights were a huge medium tank battle in the sand dunes when the British team got no Matilda's on our side.
Equally after about 40 minutes of playing I decided to dust off my Panzer II again...
Well nuts.
I was surprised that the Vickers MKVIC light tank was missing from the British line up. I was looking forward to that.
Still was fun chatting to you all. I look forward to seeing you next week.
Ice Cold in Tobruk
As you are aware Historical Battles were added a couple of patches ago. But at least on my local Server no one is playing them. Well patch 9.1 brings us the Historical battle Tobruk!
In an effort to jump start more people playing Historical battles from now on, every Saturday, starting on the 14th of June, I will be playing Historical Battles. The time will be 1500 until at least 1600 (if not later) British Summer Time. The server will be EU1.
However I'm not the only attraction there. So far we have a few others confirmed to be playing Historical Battles. At the moment Jingles and Silentstalker will be playing as well as me.
I'm hoping more famous names will be showing up... Will you?
For those that don't know, to get to historical battle mode:
1: Bellow the battle button, there's a pull down menu, that by default says "Random Battle". Click that.
2: Select Historical Battles
3: Pick your tank from your garage. You'll get charged some credits for the ammo load out, but don't worry you'll get the money back for any shells you don't fire.
You will of course need an appropriate tank to be brought and researched, but don't worry if you don't have the modules unlocked, they're provided free of charge.
As a Final note, if you queue up in a Matilda Senior it'll take a very long time to get into game, as they're very powerful machines. However the other tanks will get into game much quicker. So my advise to you is: Don't use the Matilda Senior!
Listy, Jingles and Silent driving a tank?
Labels: historical battles
[WoT] 9.1
Update 0.9.1 for World of Tanks is now live for EU region (NA update is pending due to E3 event).
Give your thoughts on the most recent patch in comments.
1. Tech side - performance, bugs&glitches, stability, network/connection
2. New city map - Kharkov
3. Marks of excellence
4. New historical battle - Battle of Tobruk. The only battle available.
5. Anything else
[WoTB] Release Date Announced!!
World of Tanks Blitz is going live on June 26, 2014 which is about two weeks from now. The game will be available worldwide for iOS devices (iPad 2 and newer, iPhone 4S and newer) following standard iOS AppStore rollout procedure.
Just finished 1.1 update.
Labels: announcement, e3, release, wotb
The Guarded Gem
Part one of the story is here.
HMS Consort had taken a battering, and nearly suffered the same fate as HMS Amethyst as her wheelhouse had taken a hit which caused her to veer towards the shore. She retreated from under the Chinese guns and silence fell on the area.
Inside the badly damaged HMS Amethyst 1st Lt Weston was propped up against a bulkhead. He had shrapnel in his lungs and liver. Despite this and with the aid of a drug cocktail of morphine and benzedrine 1st Lt Weston stayed in command. The casualty toll was tremendous, even the ships cat, Simon, had been injured. Simon had been asleep in the captains cabin when a shell detonated a mere three feet from him. Heavily burnt and pebble dashed by splinters Simon was not expected to survive.
Able Seacat Simon
The ship herself was in a terrible state, with over fifty holes below the waterline and run aground. The much reduced crew worked hard and made an attempt to get her re-floated, but she was stuck fast. Overnight the crew continued to work in the pitch darkness until 0115 on 21st April, and after lightening the bow, HMS Amethyst came free. The crew had sighted two of the batteries that engaged both her and HMS Consort, and they managed to identify a location that would beyond the range of both Chinese batteries. She anchored there, out of immediate danger, but unable to limp back to safety.
As luck would have it Vice-Admiral Charles Madden was en-route to Shanghai for St Georges Day celebrations. He was aboard the Cruiser HMS London and had HMS Amethyst's sister ship HMS Black Swan with him. He immediately sailed both ships down the river to rescue HMS Amethyst. When the armoured bulk of London appeared on the scene at 1130, the Chinese guessed what Vice-Admiral Madden's intentions were. The Chinese gun batteries opened fire. HMS London should have made short work of the emplaced positions, however the Chinese were perfectly camouflaged. HMS London was hit twelve times, with twenty wounded and multiple killed, including the London's Captain. Unable to locate the enemy, and taking serious damage the relief force had to withdraw to safety.
London class cruiser
Later that day a Chinese Nationalist doctor called Chu Wei offered to help, and boarded HMS Amethyst. However as the opening salvoes of the battle had wrecked the sick bay, and Dr Wei had almost no supplies there was little he could do. But at 1600 an RAF Sunderland appeared on the scene. She touched down near the anchored ship, loaded with supplies and an RAF Medical officer called Flight Lieutenant Fearnley.
The Chief Gunnery Officer of HMS Amethyst obtained a sampan, and crossed over to the Sunderland. When he boarded he started heaving the boxes of precious supplies into the sampan, while Flt Lt Fearnley stowed them. Suddenly a burst of firing broke out as the Chinese Communists opened fire on the plane. The RAF pilot immediately rammed the throttle home and surged away, taking off while the Chinese fire chased the lumbering aircraft.
Flt Lt Fearnley was stranded in the boat, with bullets whistling past him. The Chinese boat crew had no intention of closing with HMS Amethyst while the Communists were shooting at the ship. Flt Lt Fearnley pulled out his sidearm and convinced the sampan crew otherwise.
Dr Wei then arranged for the wounded to be unloaded to the Nationalist controlled river bank, and they were treated and shipped onto Shanghai.
Overnight HMS Amethyst moved another ten miles closer to Shanghai. Here Lieutenant Commander John Simon Kerans (the Assistant Naval Attache from Shanghai Embassy) arrived on the scene. Upon hearing of HMS Amethyst's fate he had immediately borrowed a Jeep from some Australians and departed on an overland trek of 72 miles, only to find that overnight Amethyst had moved, and he had to chase her down stream. Upon arriving he took command and practically had to throw 1st Lt Weston off the ship, who didn't want to be evacuated.
However the Chinese Communists had attacked the Nationalists, and forced them back. This left both banks of the river in enemy hands, and HMS Amethyst utterly surrounded. The Communists then began to emplace further batteries of guns all around her.
Over the following months diplomatic exchanges between the Communists and the British continued. The British were seeking safe passage, the Communists were trying to get the British to admit they opened fire first and invaded China.
On board ship fuel and food was getting scarce. The men were on half rations, and the ship was often shut down, the sailors having to lie in the stifling heat in utter darkness as the ventilators were switched off along with the lights.
To make matters worse the ship became infested with rats. Often the sailors could feel the rats nibbling at them as they lay down. This plague threatened to destroy what little food supplies the ship had. It was then the heavily wounded ships cat, Simon, came into his element. Despite the odds he had survived the shell that hit next to him. Before he'd been taken on board he'd been a feral cat in Hong Kong. He set to work on the infestation of rats and very quickly got the situation under control. He also acted as a pet to keep the crew's morale up, with the assistance of the ships terrier named Peggy. During the period of virtual captivity the crew worked hard to repair the damage as best they could.
Peggy and HMS Amethyst's crew
Then at the end of July Lt Cdr Kerans began to issue odd orders, such as wrapping the anchor chain in blankets and greasing everything. At 1800 on the 30th of July Lt Cdr Kerans informed the crew that they would be making an escape attempt in four hours time.
Part three is here.


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The 2014 Sundance Film Festival Winners Are…
Last evening, the Sundance Institute announced the Jury, Audience and other special awards of the 2014 Sundance Film Festival at the feature film Awards Ceremony, hosted by Nick Offerman and Megan Mullally, in Park City, Utah.
U.S. Grand Jury Prize: Documentary : Rich Hill
U.S. Grand Jury Prize: Dramatic: Whiplash
World Cinema Grand Jury Prize: Documentary: Return to Homs
World Cinema Grand Jury Prize: Dramatic: To Kill a Man
Audience Award: U.S. Documentary: Alive Inside: A Story of Music & Memory
Audience Award: U.S. Dramatic: Whiplash
Audience Award: World Cinema Documentary: The Green Princess.
Audience Award: World Cinema Dramatic: Difret
Audience Award: Best of NEXT <=>: Imperial Dreams
Directing Award: U.S. Documentary: Ben Cotner & Ryan White for The Case Against 8
Directing Award: U.S. Dramatic: Cutter Hodierne for Fishing Without Nets
Directing Award: World Cinema Documentary: Iain Forsyth & Jane Pollard for 20,000 Days On Earth
Directing Award: World Cinema Dramatic: Sophie Hyde for 52 Tuesdays
Waldo Salt Screenwriting Award: U.S. Dramatic: Craig Johnson & Mark Heyman for The Skeleton Twins
Screenwriting Award: World Cinema Dramatic: Eskil Vogt for Blind
Editing Award: U.S. Documentary: Jenny Golden, Karen Sim for Watchers of the Sky
Editing Award: World Cinema Documentary: Jonathan Amos for 20,000 Days On Earth
Cinematography Award: U.S. Documentary: Rachel Beth Anderson, Ross Kauffman for E-TEAM
Cinematography Award: U.S. Dramatic: Christopher Blauvelt for Low Down
Cinematography Award: World Cinema Documentary: Thomas Balmès & Nina Bernfeld for Happiness
Cinematography Award: World Cinema Dramatic: Ula Pontikos for Lilting
U.S. Documentary Special Jury Award for Use of Animation: Watchers of the Sky
U.S. Documentary Special Jury Award for Intuitive Filmmaking: The Overnighters
U.S. Dramatic Special Jury Award for Musical Score: The Octopus Project for Kumiko, the Treasure Hunter
U.S. Dramatic Special Jury Award for Breakthrough Talent: Justin Simien for Dear White People
World Cinema Dramatic Special Jury Award for the Delightful Ensemble Performance, and How the Director Brought His Own Unique Universe into Cinema: God Help the Girl
World Cinema Documentary Special Jury Award for Cinematic Bravery: We Come as Friends
Short Film Audience Award, based on web traffic for 15 short films that screened at the Festival and were concurrently featured on www.youtube.com/sff, was presented to: Chapel Perilous
Steve Rickinson
Tags 000 Days on Earth, 20, 52 Tuesdays, Alive Inside: A Story of Music & Memory, Blind, Chapel Perilous, Difret, E-Team, Fishing Without Nets, God Help the Girl, Happiness, Imperial Dreams, Kumiko, Lilting, Low Down, Megan Mullally, Nick Offerman, Return to Homs, Rich Hill, Sundance Film Festival, Sundance Institute, te Treasure Hunter, The Case Against 8, The Green Princess, The Overnighters, The Skeleton Twins, To Kill a Man, Watchers of the Sky, We Come as Friends, Whiplash, YouTube
Sundance 2017 Filmmaker Interview: Stanley Nelson (Tell Them We Are Rising: The Story of Historically Black Colleges and Universities)
CPH:DOX Announces 'Last Men In Aleppo' 2017 Opening Night Film
Sundance 2017: Complete Winners
Kino! 2016 Interview: Gerd Schneider (Writer/Director-The Culpable)
10 Things You're Doing Wrong In Your Screenplay
Dispatches From The 2016 American Film Market
November 22, 2017on Interview: Alan Hicks, Director – 'Keep On Keepin' On'by Review: Legendary jazz trumpeter Clerk Terry teaches how to make your dream come true – Writing for Mass Media
April 29, 2017on CPH:DOX 2017 Filmmaker Profile: Petr Lom (Burma Storybook)by Burma Storybook | CPHDOX – Copenhagen – international premiere
April 23, 2017on "Take Me" and "Hounds of Love" Film Reviews: Blondes-Bound-in-Basement Moviesby Tribeca 2017 Glimpse: What to See and Skip: Helen Highly Brief | Indiewood/Hollywoodn't
March 29, 2017on CPH:DOX 2017 Filmmaker Profile: Petr Lom (Burma Storybook)by Burma Storybook | CPHDOX interview
February 27, 2017on Interview: Kweighbaye Kotee (Director Programming – BUSHWICK FILM FESTIVAL)by Bushwick Film Festival Celebrates Milestone 10th Anniversary This Fall

redpajama_set_name: RedPajamaCommonCrawl


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Deutsche Wanderbühne (auch: Theater-, Schauspieler-, Komödianten-, Opern-, -Bande, -Truppe, -Gesellschaft) ist die Bezeichnung für eine aus professionellen Schauspielern und Musikern bestehende, umherziehende deutschsprachige Theatertruppe oder Wanderoper, die zwar über einen eigenen Fundus, nicht aber über eine feste Spielstätte verfügte.

Solche Wandertruppen hatten sich seit dem 17. Jahrhundert in Deutschland als Gegenstück zu den Hoftheatern der Fürsten herausgebildet und unterhielten das Volk mit als "Haupt- und Staatsaktionen" titulierten Possen, die Parodien oder Travestien von höfischen Tragödien oder Opern waren. Mit dem Aufkommen der ersten Nationaltheater mit festen Schauspielerensembles im 18. Jahrhundert verlor diese Form des Volkstheaters allmählich an Bedeutung, auch wenn noch bis ins 19. Jahrhundert hinein Wandertruppen in deutschen Städten gastierten.

Organisation einer Wandertruppe

Die Organisation der Wandertruppen blieb vom 17. bis zum 19. Jahrhundert ungefähr gleich. Die Wanderkomödianten fanden sich im Rahmen sogenannter Schauspiel- oder Komödiantengesellschaften, im Kern meist Familienunternehmen, unter der Leitung eines Prinzipals zusammen. Dieser Theaterunternehmer war der organisatorische und künstlerische Leiter der privatwirtschaftlich geführten Truppe und verfügte in der Regel über die notwendigen Lizenzen, finanziellen Mittel, Requisiten und Kostüme.

Der Prinzipal entschied über das Engagement neuer oder zusätzlicher Schauspieler. Außerdem sorgte er für Disziplin, verwaltete die Einnahmen und Ausgaben, wählte und bearbeitete die neuen Stücke und legte den Spielplan und die Spielstätten fest. Für spezielle Bereiche, wie das Bühnenbild, die Spezialeffekte, oder die Organisation der technischen Abläufe, hatte eine Wandertruppe unter Umständen einen eigenen Theatermeister. War dies nicht der Fall, übernahm der Prinzipal diese Verantwortungen zusätzlich zu seinen anderen Aufgaben, wie der Besetzung der Rollen, der Leitung der Proben und der Überwachung des Spielbetriebs. Als Orchester wurden meist bestehende Ensembles an den jeweiligen Spielorten verpflichtet. Eine Regie im heutigen Sinn gab es noch nicht, es brauchte jedoch einen Ballettmeister für die Arrangements der sogenannten Gruppen.

Die Schauspielausbildung bestand vorwiegend in einer Tanzausbildung. Friedrich Ludwig Schröder begann seine Karriere als "Luftspringer", und auch Joseph Anton Christ berichtet mit Stolz, dass er Ballette aufgeführt habe. Ferner gehörte eine Gesangsausbildung zum handwerklichen Rüstzeug, da die Schauspieler Singspiele aufführen mussten.

Der Prinzipal war es auch, der die Auftrittserlaubnis des jeweiligen Landesherrn besaß, ohne die eine Wandertruppe zur damaligen Zeit nicht auf deutschem Gebiet auftreten durfte. Die Fürsten vergaben diese Schauspiel-Privilegien an die von ihnen geschätzten Schauspielgesellschaften. Es war üblich, dass sie an Hoftheatern auftraten und auch zu Hofkomödianten ernannt wurden.

Im Normalfall gastierten die Theatergruppen im Rahmen von Tourneen in den Ortschaften ihres zugeteilten Spielgebietes. In Dörfern wurden die Aufführungen meist als Freilichttheater auf Holzbühnen von Märkten oder Plätzen veranstaltet, während in größeren Ortschaften die Möglichkeit bestand, in Wirtshäusern, Scheunen und ähnlichen Örtlichkeiten oder bei längerem Aufenthalt in extra errichteten Schaubuden (auch "Komödiantenbuden") aufzutreten. Wenn die Truppe in einem festen Gebäude spielte, war der Prinzipal ein Pächter, der auf eigenes Risiko handelte. Intendanten gab es nur an großen Hoftheatern, und von Städten oder Vereinen eingesetzte Direktoren wurden erst im 19. Jahrhundert üblich.

Da immer nur wenige auserwählte Truppen ein Aufführungsprivileg in einem Territorium erhielten, gab es zwischen den Theatertruppen eine harte Konkurrenz. Dabei kam es auch zum gegenseitigen Abwerben bekannter und beliebter Schauspieler. Truppen, die keine Spielerlaubnis ergattern konnten, mussten auf andere Gebiete ausweichen, weshalb die Reiserouten deutscher Wandertruppen bis weit nach Russland hinein und bis ins Baltikum reichten, wo sich deutschsprachige Bevölkerungsteile befanden.

Spielbetrieb einer Wanderbühne

Die privaten Wandertruppen orientierten sich bei ihrem Spielbetrieb fast ausschließlich am amüsierfreudigen und oft ungebildeten Publikum, von dessen Spenden und Eintrittsgeldern sie abhängig waren. Um das Publikumsinteresse nicht zu verlieren, mussten die Wandertruppen regelmäßig neue Stücke aufführen. Dies bedingte, dass man sich nur grob an die dichterischen Vorlagen hielt oder sie ganz und gar wegließ und improvisierte, da die Zeit nicht reichte, um beständig neue Stücke im Ganzen einzustudieren.

Theater war bei den Wandertruppen zunächst ein reines Unterhaltungstheater. Der Spielplan wurde von den sogenannten "Haupt- und Staatsaktionen" beherrscht, in deren Zentrum die von derben Späße und Anzüglichkeiten charakterisierten possenhaften Einlagen eines Harlekin oder Hanswurst standen. Die Aufführungen bestanden aus  einer Abfolge von spannungsgeladenen oder situationskomischen Einzelauftritten und wurden zu einem Spektakel, bei dem die optische Wirkung von aufwendigen Kostümen, pompösen Bühnenbildern und aufsehenerregenden Effekten mehr zählte als die schauspielerischen Leistungen. Dies lag zum Teil daran, dass damals ein völlig anderes Kunstverständnis herrschte und die Schauspielerei eher als ein Handwerksberuf angesehen wurde.

Es war üblich, dass Schauspieler das Puppenspiel beherrschten, weil es beengte Raumverhältnissen oft nicht zuließen, auf großer Bühne zu spielen. Puppenspiele gehörten daher zum "Schlechtwetterprogramm".

In Anlehnung an die englischen und italienischen Vorbilder praktizierten die deutschen Wanderbühnen ein Stegreiftheater, dessen Darstellungsstil geprägt war von Improvisationen, typisierten Rollen und realistischer Überdeutlichkeit. Die Schauspieler spezialisierten sich dabei auf bestimmte Rollenfächer oder sogar stehende Rollen – immer wieder auftauchende Figurentypen, die ihrem Geschlecht, Alter und Aussehen am ehesten entsprachen. Als besonders guter Schauspieler galt oft derjenige, welcher seine Figur durch Überzeichnung am eindeutigsten verkörperte.

Ein Zusammenspiel der einzelnen Akteure im modernen Sinn existierte nicht, da die Schauspieler das Einstudieren ihrer Rollentexte und die oft pompöse Kostümierung (sie erhielten vom Prinzipal ein so genanntes Kostümgeld) zumeist selbst übernahmen und um die Gunst des Publikums konkurrierten. So beschränkten sich die Aufgaben des Prinzipals als Regisseur darauf, den Schauspielern ihre Rollen zuzuordnen und darauf zu achten, dass sie im richtigen Verhältnis zueinander auf der Bühne positioniert waren.

Sonderform Wanderoper
Eine Sonderform war die Wanderoper des 18. Jahrhunderts, eine Organisationsform, in der sowohl deutsche Hoftheater bespielt wurden, als auch jeweils neu aufgeschlagene örtlichen Bühnen. Zu den Sängern hatte die Wanderoper zusätzlich Instrumentalisten im Engagement, deren Instrumente, Noten und Notenständer mitgeführt werden mussten, wenn nicht Musiker des Zielorts zum Einsatz kamen. Zum anderen erforderte gerade diese Theaterform eine intensive Vorbereitung und einen musikalischen Leiter. Improvisation wie beim Stegreiftheater gab es in der Regel dabei nicht. In den Aktpausen traten jedoch auch Unterhaltungskünstler, wie zum Beispiel Seiltänzer, auf. Indem sich ab Mitte des Jahrhunderts an den deutschen Höfen der Schwerpunkt italienische Oper zurückbildete, entstand eine bürgerliche Bewegung mit "Singspielen und leichten Opern". Nach der Praxis der berühmten italienischen Wanderopern wie der des Girolamo Bon entstanden deutsche Operntruppen, die auf Unternehmerbasis arbeiteten. Dazu gehören die Truppen Johann Friedrich Schönemanns (1704–1782), Emanuel Schikaneders (1751–1812) und die Seylersche Schauspiel-Gesellschaft (gegründet 1769). Diese Theaterensembles hatten sowohl Musik- als auch Sprechtheater im Programm.

Historische Entwicklung

Mittelalter und Renaissance
Die Theaterlandschaft des deutschsprachigen Gebietes war im Mittelalter und im Zeitalter der Renaissance geprägt von religiös motivierten, ursprünglich von Geistlichen aufgeführten beziehungsweise geleiteten, später auch der stadtbürgerlichen Repräsentation dienenden geistlichen Spielen. Der Zweck von Mysterien- und Passionsspielen, Fastnachtsspielen oder des Jesuiten- beziehungsweise des evangelischen Schultheaters lag vor allem in der Bekehrung, der Belehrung und der moralischen und sittlichen Erziehung der Gesellschaft. An diesen Aufführungen wirkte oftmals eine große Anzahl Bürger als Laiendarsteller mit, welche in hohem Ansehen standen. Die deutschen Laientheater erfreuten sich großer Beliebtheit und blieben noch lange nach dem Ende ihrer Glanzzeit bestehen, auch wenn sie mit dem Auftauchen der ersten ausländischen Wandertruppen an Bedeutung verloren.

Die ersten italienischen Komödianten zogen Ende des 15. Jahrhunderts über die Alpen, spielten zunächst aber vorrangig in adeligen Kreisen, in welchen man des Italienischen mächtig war. Mit der Entwicklung der italienischen Oper zur beliebtesten Theaterform an den europäischen Höfen nach 1600 sahen sich viele der italienischen Komödiantentruppen im deutschen Raum gezwungen, sich ein neues Publikum zu erschließen, da sie dieser neuen Form des musikalischen Theaters keine Konkurrenz bieten konnten. So wandten sie sich dem deutschen Bürgertum zu, das allerdings kein Italienisch verstand. Die Commedia-dell'arte-Vorstellungen der italienischen Theatergruppen entwickelten sich zu einer Art Pantomime, deren komische Handlung über Masken und übertriebene Gesten und Gebärden vermittelt wurde.

Gegen Ende des 16. und im 17. Jahrhundert wanderten dann die englischen Komödianten des Elisabethanischen Theaters über Dänemark und die Niederlande ins deutschsprachige Gebiet ein. Infolgedessen kam es zwischen diesen und den italienischen Theatertruppen zu einem harten Ringen um das deutsche Publikum, zu dem sich im 18. Jahrhundert zusätzlich noch französische Wandertruppen gesellten.

Ansätze zur Selbstständigkeit
Im 17. Jahrhundert bildete sich, als Reaktion auf die fremden Theatergruppen, im deutschen Sprachraum ein eigenes deutsches Berufstheater nach dem Vorbild der ausländischen Wanderbühnen heraus. Diese Entwicklung begann mit der Aufnahme von deutschen Schauspielern in das Ensemble der englischen Truppen, was allmählich zu rein deutschsprachigen Wandertruppen führte.

Von den englischen Vorbildern übernahm man weniger die Texte als die Spielform, in welche zusätzlich noch Elemente der Commedia dell'arte eingebaut wurden. So entstand auf der deutschen Wanderbühne eine eigene komödiantische Darstellungsform. Das deutschsprachige Gegenstück zu Pickelhering oder Arlecchino war die von Stranitzky geschaffene komische Figur des Wiener Hanswursts, der als hinzugefügte Dienerfigur in übersetzten und stark vergröberten französischen oder italienischen Tragödien auftrat, die seinen Scherzen als Spielschablone dienten.

Neben den Truppen, die dem breiten Publikum Schwänke und Abenteuergeschichten boten, bildeten sich auch Theatergruppen aus, die an Fürstenhöfen und vor gebildetem Publikum spielten. Ein Beispiel hierfür waren die Hochdeutschen Hofcomödianten und deren Nachfolgegruppen, die wesentliche Neuerungen in die Wanderbühnen-Landschaft brachten: längere und literarisch ausgearbeitete Stücke, Dramen und weibliche Schauspieler für Frauenrollen. Neben Adaptionen von englischen, italienischen und französischen Stoffen (z. B. Shakespeare, Molière) wurden auch deutsche Vorlagen für Theaterstücke verwendet.

Aufklärung
Zu Beginn des 18. Jahrhunderts kam es im Rahmen der literarischen Aufklärung und ausgehend vom Leipziger Kreis um den Literaturtheoretiker Johann Christoph Gottsched zu einer Reform des deutschen Theaters nach dem Vorbild der französischen Klassik. Als Folge begannen die deutschen Wanderbühnen, allen voran die Neubersche Truppe der Prinzipalin und Bühnenreformerin Caroline Neuber, sich strenger an die dichterischen Vorlagen der zumeist französischen Dramentexte zu halten und diese mittels des französisch-pathetischen Theaterstils (siehe Regeldrama) darstellerisch umzusetzen.

Dieser forderte von den Schauspielern ein höheres Können und verhalf dem deutschen Theater zu einer künstlerischen Aufwertung. Allerdings führte dies in einer Zeit, die sich bereits von den klassischen Vorgaben löste, in Frankreich ebenso wie in Deutschland, zu Kritik. Die auf Typisierung und Repräsentation hin ausgelegte französische Darstellungsweise mit ihren höfischen Kostümen und Gebärden wurde vom weniger gebildeten deutschen Publikum nicht verstanden und blieb deswegen erfolglos.

Erst mit Conrad Ekhof und anderen bekannten Wanderschauspielern der damaligen Zeit entwickelte sich in der Mitte und zum Ende des 18. Jahrhunderts hin allmählich eine eigene, vom gemäßigten Realismus und einem beginnenden Ensemble-Spiel geprägte Schauspielkunst. Zudem entstanden im gleichen Zeitraum die ersten Nationaltheater mit festen Theaterensembles, in welche die meisten der deutschen Wandertruppen mit der Zeit aufgingen. Mit "national" meinte man eine kulturelle, sprachliche Gemeinsamkeit in dem noch durch Kleinstaaterei zersplitterten deutschen Sprachraum. Die privat finanzierte Hamburgische Entreprise, bei der Gotthold Ephraim Lessing als Dramaturg mitwirkte,  konnte sich nur 1767 bis 1769 halten, doch Ende der 1820er Jahre gab es bereits über 65 regulär bespielte Theater im deutschen Sprachgebiet.

19. Jahrhundert
Die Abgrenzung zwischen Schauspiel-, Opern- und Balletttruppen war noch im 19. Jahrhundert fließend. Der Komponist Albert Lortzing begann etwa als Schauspieler und Sänger in der Truppe von Josef Derossi. Auch der Theaterkomponist Adolf Müller senior begann seine Laufbahn als Wanderschauspieler. Richard Wagner wirkte zwar nicht mehr als Schauspieler wie seine Geschwister (obwohl er in seinem ersten Vertrag als Chordirigent in Würzburg zum Mittanzen im Ballett verpflichtet war), aber er war in den 1830er Jahren in Bad Lauchstädt noch bei einer Wandertruppe beschäftigt.

Durch die Vergrößerung der Städte im 19. Jahrhundert wuchs zwar der Unterhaltungsbedarf, aber die Wandertruppen wurden zurückgedrängt. Stehende Theater nach dem Vorbild der Pariser Boulevardtheater wurden gegründet wie das Königsstädtische Theater Berlin. In der Übergangszeit befindet sich etwa der Dichter und Schauspieler Karl von Holtei, der in seinem Roman Der letzte Komödiant (1863) die untergehende Zeit der Wandertruppen schildert. Als man 1884 im deutschen Sprachgebiet über die Komödie Raub der Sabinerinnen der Brüder Schönthan lachte, waren die darin persiflierten Wandertruppen schon verschwunden.

20. Jahrhundert
Durch das Aufkommen der theatralischen Kleinkunst in Music Halls oder Singspielhallen und mit der Verbreitung von Boulevardstück und Operette entstand seit dem Ende des 19. Jahrhunderts eine neue Art meist individuell wandernder, aber untereinander vielfach vernetzter Schauspieler. Helmut Qualtinger porträtierte diesen Darstellertypus mit seiner Kabarettszene Der Menschheit Würde ist in eure Hand gegeben (nach Friedrich Schillers Gedicht Die Künstler), in der sich zwei Kleindarsteller über ihre Bühnenrollen während der Zeit des Nationalsozialismus in den deutschsprachigen Theatern Tschechiens und Osteuropas unterhalten.

Gesellschaftliche Stellung

Professionalisierung
Die Wandertruppen setzten sich aus Schauspielern zusammen, die im Gegensatz zu dem bisherigen Laiendarstellern das Theater zu ihrem Beruf machten. Dies wurde in der damaligen Gesellschaft beargwöhnt, wie Kindermann 1956 formuliert
Jede schauspielerische Leistung ist eine künstlerische Selbstpreisgabe […].
Selbstpreisgabe aus Spieltrieb oder aus weltanschaulicher, gar aus religiöser
oder aus pädagogischer Berufung schien erlaubt und sogar in vieler Hinsicht
erwünscht. Selbstpreisgabe als Beruf hingegen, Selbstpreisgabe gegen Entgelt
– um der Belustigung oder um tragischer Sensationswirkungen vor täglich
anderen Zuschauern willen – erschien zunächst als so fragwürdig, als so
jenseits allerseelisch-sittlichen Normen, daß man die Angehörigen dieses
frühen Schauspielerstandes vielfach weder zu den wesentlichsten Sakramenten
zuließ noch ihnen ein christliches Begräbnis gönnte.

Zudem stand das Wanderdasein der zum Fahrenden Volk zählenden Wanderkomödianten dem bürgerlichen Ideal der Sesshaftigkeit entgegen, weshalb Schauspieler einen schlechten Ruf genossen. So galten Schauspieler in der Tradition des Landfahrer- und Spielleutewesens generell als Spaßmacher und als gescheiterte Existenzen mit ausschweifendem Lebenswandel. In der Regel mussten sie außerhalb der Friedhofsmauern beerdigt werden.

Dies änderte sich erst mit der Theaterreform in der ersten Hälfte des 18. Jahrhunderts. Sie hatte die Bestrebung, die Theaterakteure als Künstler zu achten und dadurch die Anforderungen an das Bildungsniveau des Schauspielerstandes zu heben. Die Schauspieler kamen zu einem großen Teil aus Schauspielerfamilien, aber zunehmend auch aus Kreisen mit einer gewissen Bildung, zum Beispiel Studenten, da des Lesens mächtig zu sein zu einer Grundvoraussetzung des Berufs geworden war. Außerdem bemühte man sich, dem schlechten Ruf durch einen anständigeren und moralischeren Lebenswandel entgegenzuwirken. Den Schauspielern gelang es allerdings später als den Musikern, als "Künstler" hochgeschätzt zu werden.

So waren es auch die Wanderschauspieler, welche sich um die Verbesserung des künstlerischen und gesellschaftlichen Ansehens des Schauspiels und ihres Standes bemühten und damit die Entwicklung des deutschen Theaters und einer "deutschen" Kultur entscheidend mittrugen, was nach den Befreiungskriegen zu einer Vermehrung der Stadt- und Nationaltheater führte.

Die Schauspieltruppen waren es ebenfalls, die Mitte des 18. Jahrhunderts als erste Auftraggeber den jungen deutschen "Dramaturgen" (wie Gotthold Ephraim Lessing) und damit dem deutschsprachigen Drama mit zum Durchbruch verhalfen. Schließlich gingen aus den Wandertruppen die ersten Berufsschauspieler hervor, was den Grundstein für die heutige Theaterkultur legte.

Schauspielerinnen

Bis ins 18. Jahrhundert wurden Frauenrollen zum Teil noch von Männern gespielt. Unter "Magister Velthen" gab es die ersten Schauspielerinnen in Deutschland. Um zu zeigen, dass sie sich als Schauspieler eigneten, traten auch die Frauen in Männerrollen auf. Die Kostüme der Damen gehörten zum Teuersten, was eine Wandertruppe benötigte. Daher wurden manche Schauspielerinnen wegen ihrer mitgebrachten Garderobe engagiert.

Einzelnen Schauspielerinnen gelang im 18./19. Jahrhundert ein beachtlicher gesellschaftlicher Aufstieg, sei es, dass sie Bewunderer aus höheren Ständen heirateten, sei es, dass sie in ihrem Beruf zu Prinzipalinnen und Dramatikerinnen wurden. Zur ersten Prinzipalin wurde Catharina Elisabeth Velten nach dem Tod ihres Mannes. Die Prinzipalin Friederike Caroline Neuber steht im Ruf, den Hanswurst von der deutschen Bühne verbannt zu haben (obwohl sie ihn nur zurückdrängte und aus wirtschaftlichen Gründen selbst in ihrer eigenen Truppe nicht auf ihn verzichten konnte). Sie gab damit den Auftakt zu einer Reform des deutschen Theaters, an deren weiterer Entwicklung auch Conrad Ekhof mitwirkte, der 1753 die erste deutsche Schauspielerakademie gründete und am Versuch des Hamburger Nationaltheaters (1767–1769) beteiligt war.

Auch Charlotte Birch-Pfeiffer hatte als Schauspielerin, Regisseurin, Prinzipalin und Dramatikerin einen prägenden Einfluss auf die deutschsprachige Theaterszene in der ersten Hälfte des 19. Jahrhunderts.

Prinzipale und ihre Schauspielgesellschaften im 17. und 18. Jahrhundert

 Konrad Ernst Ackermann (1712–1771), erst in der Truppe von Schönemann, schloss sich um 1747/1751 mit der Kollegin Sophie Charlotte Schröder (Schrödersche Truppe, 1742 bis 1744) zusammen zur Ackermannschen Truppe, nach seinem Tod von seinem Stiefsohn Friedrich Ludwig Schröder weitergeführt (Schrödersche Truppe, 1770 bis 1798)
 Johann Heinrich Böhm (1740–1792), begann in Schaumburgscher Gesellschaft, Böhmsche Truppe 1770 bis 1792
 Pasquale Bondini († 1789), führte die Bondinische Gesellschaft in Leipzig, Dresden und Prag
 Friedrich Wilhelm Bossann (1756–1813), führte ab 1786 die Neuhausische Theatergesellschaft und gab ihr seinen Namen (Mainz/Rheinland; Engagement der Truppe nach Anhalt 1794 begründete das heutige Anhaltische Theater)
 Leonhard Andreas Denner, erst in der Veltenschen Gesellschaft, dann eigene Truppe (1708 bis 1731)
 Josef Derossi: (1768–1841), Leiter der Düsseldorfer Theatergesellschaft
 Karl Theophil Döbbelin (1727–1793), erst in Ackermannscher und Kochscher Truppe, eigene Truppen um 1757 und 1767–1787
 Eberweinische Truppe Gotha
 Conrad Ekhof (1720–1778), begann in Schönemannscher Truppe, zwischen 1775 und 1778 Co-Direktor am Gothaer Hoftheater
 Andreas Elenson (um 1645–um 1706), erst in Veltenscher Truppe, dann Gründer der Wiener Kompanie (bzw. Elensonsche Truppe, 1672 bis 1706)
 Johann Georg Förster, begann in Spiegelbergscher Truppe, danach selbstständige Marionetten- und Komödiantenbande (1725 bis 1737)
 Kaspar Haack, Carl Ludwig Hoffmann, erst bei Elenson (Haack heirate Sophie Julie Elenson), nach Elensons Tod Übernahme als (Elenson-)Haack-Hoffmannsche Truppe (1708 bis 1725)
 Simon Friedrich Koberwein (1733–nach 1803)
 Heinrich Gottfried Koch (1703–1775), begann in erster Schröderscher Truppe, gründete 1749 die Kochsche Truppe (bestand bis 1775)
 Johann Joseph Felix von Kurz (1717–1784)
 Langesche Gesellschaft Naumburg
 Theobald Marchand (1741–1800), Gründer der Marchandschen Theatergesellschaft (Mainz/Mannheim)
 Friederike Caroline Neuber ("Neuberin", 1697–1760), erst in der Spiegelbergschen und Haack-Hoffmannschen Gesellschaft, Leiterin der Neuberschen Komödiantengesellschaft (1725 bis 1750)
 Filippo Nicolini († um 1775), Leiter einer Pantomimengruppe
 Carl Andreas Paulsen (1620–1678), Leiter der Hochdeutschen Hofkomödianten (erste Wanderbühne mit nur deutschen Schauspielern ab ca. 1650 bis 1678)
 Herrmann Reinhard Richter und Balthasar Brambacher: erst in der Veltenschen Gesellschaft, dann selbstständig als Merseburger Hofcomoedianten (1695 bis 1702)
 Johann Friedrich Schönemann (1704–1782), begann in Ackermannscher und Försterscher Truppe; Schönemannsche Gesellschaft (1740 bis 1757)
 Abel Seyler (1730–1800), begann in Kochscher Truppe, gründete 1769 die Seylersche Schauspiel-Gesellschaft
 Johann Christian Spiegelberg (1682–1732), erst in der Veltenschen und Dennerschen Gesellschaft, dann eigene Truppe (1712 bis 1725)
 Johann Carl Tilly, Gründer der Tillyschen Truppe (Mecklenburg/Vorpommern)
 Johannes Velten (1640–1691/91), übernahm zwischen 1670 und 1680 die Paulsensche Truppe und machte sie zur ersten deutschen Schauspielgesellschaft von Bedeutung; nach seinem Tod weitergeführt durch Catharina Velten (Nachfolgetruppen ehemaliger Kollegen u. a.: Brambacher, Denner, Elenson, Förster, Müller, Sasse, Spiegelberg)
 Johann Christian Wäser, Maria Barbara Wäser, Leiter der Wäserschen Gesellschaft in Schlesien und Preußen

Siehe auch
 Wandertheater in der Schweiz
 Volkstheater
 Geschichte des Theaters
 Internationales Wandertheaterfestival
 Wanderoper Girolamo Bon in Frankfurt am Main

Literatur
 Carl Heine: Das Schauspiel der deutschen Wanderbühne vor Gottsched. Halle, S. 1889.
 Hermann Maas: Äussere Geschichte der englischen Theatertruppen in dem Zeitraum von 1559 bis 1642. Louvain, Leipzig 1907.
 Rudolf Schirmer (Hrsg.): Schauspielerleben im 18. Jahrhundert. Erinnerungen von Joseph Anton Christ. Langewiesche-Brandt, München und Leipzig 1912.
 Konrad Schiffmann (Hrsg.):  Jakob Neukäufler (1754–1835). Aus dem Leben eines Wanderschauspielers. Jos. Feichtingers Erben, Linz 1930.
 Herbert Junkers: Niederländische Schauspieler und niederländisches Schauspiel im 17. und 18. Jahrhundert in Deutschland. Nijhoff, Haag 1938.
 Haide Marie Brandt: Die Holtorf-Truppe – Wesen und Wirken einer Wanderbühne. Berlin 1960.
 Bärbel Rudin (Hrsg.): Wanderbühne – Theaterkunst als fahrendes Gewerbe. Berlin 1988.
 Peter Schmitt: Schauspieler und Theaterbetrieb – Studien zur Sozialgeschichte des Schauspielerstandes 1700–1900. Tübingen 1990.
 Wolfgang Bender (Hrsg.): Schauspielkunst im 18. Jahrhundert. Stuttgart 1992, ISBN 3-515-05990-3.
 Simon Williams: German Actors of the Eighteenth and Nineteenth Centuries. Idealism, Romanticism and Realism. Greenwood, Westport 1985, ISBN 0-313-24365-4.
 Roland Dreßler: Von der Schaubühne zur Sittenschule – Das Theaterpublikum vor der vierten Wand. Berlin 1993, ISBN 3-89487-181-4.
 Michael Rueppel: Nur zwei Jahre Theater, und alles ist zerruettet – Bremer Theatergeschichte von den Anfängen bis zum Ende des 18. Jahrhunderts. Winter, Heidelberg 1996 (uni-protokolle.de).
 Wilhelm Herrmann: Hoftheater – Volkstheater – Nationaltheater – die Wanderbühnen im Mannheim des 18. Jahrhunderts und ihr Beitrag zur Gründung des Nationaltheaters. Frankfurt a. M. 1999, ISBN 3-631-34645-X.
 Renate Möhrmann [Hrsg.]: Die Schauspielerin – eine Kulturgeschichte. Frankfurt a. M. 2000, ISBN 3-458-34365-2.
 Claudia Puschmann: Fahrende Frauenzimmer – Zur Geschichte der Frauen an deutschen Wanderbühnen (1670–1760). Herbolzheim 2000, ISBN 3-8255-0272-4.

Weblinks
 Literaturwissenschaftlicher Überblick über das Theater der Wandertruppen und einzelne Schauspielgesellschaften
 Zur sozialen Stellung der Wanderschauspieler
 Schauspiel und Proben im Theater des 18. Jahrhunderts
Bundesverband Theater im öffentlichen Raum

Einzelnachweise

Theatergeschichte (Deutschland)
Improvisationstheater
Ensembletyp (Darstellende Kunst)
Theaterbetriebsform
!

redpajama_set_name: RedPajamaWikipedia


The St. George Sunday School plays an integral role in development, growth and future of the Armenian church in the community. Led by a dedicated group of educational leaders and devoted parents, the Sunday School provides children from ages 4 to 18 a foundation and basis for the learning of their historic Armenian religion, heritage and church doctrine and creed. The Sunday School is the training ground of young minds who will become the future active members of the parish.
to promote the importance of God.
to instill in the students Armenian and Christian values and an appreciation for the Armenian culture and heritage.
The curriculum is prepared by the Diocese of the Armenian Church and includes the life and teachings of Christ, the traditions and history of the Armenian Church, and the sacraments of the Armenian Church. Classes begin at 10:15 a.m. and end at 12:00 noon every Sunday, September through June. Typically, each session comprises class-time and church attendance. There are many special programs in addition such as assemblies, service projects, crafts and other activities that enrich the basic program. The Sunday School holds an annual pancake breakfast and egg coloring for Easter Sunday and sponsors the annual Christmas Pageant. Please contact Co-Superintendents Virginia Wasynczuk (860) 295-9038 and Cynthia Messikian (860) 568-5792 for further information and details.


A deadlift is one of the basic exercises that should appear in every training plan. Variants of this exercise there are several types that are not very popular at the gym. Men usually use the classic version and sumo, and women - the variant with locked knees. Is a deadlift on straight legs in the training plan a good idea for everyone? What should the correctlift look like? What's the effect? Check in the article.
A deadlift with straight legs is a really interesting exercise. It's worth to learn more about it!
A deadlift with straight legs engages the muscles of two-headed thighs and buttocks - to a greater extent than the classical version of thelift. Therefore, it is more often performed by ladies. This does not mean, however, that men should not include this exercise in their plans. This is above all a great alternative to the classiclift. It will also work as a method of stretching the back band. Thanks to the maintenance of almost straight legs, we stretch the muscles and tendons. This translates into an increase in the range of motion in the classic deadlift.
The version with straight legs for beginners can be harder to learn. This is due to the difficulty in mastering the movement pattern, which may result, for example, from their limited mobility. When performing deadlift with straight legs, the buttocks and two-headed thigh muscles work the most, so it will not be an exercise that should be the basis for back and leg training for beginners. In this case, it is better to choose the classic version, which definitely engages the widest muscles of the spine.
The most important effects of using deadlift with straight legs in your training plan is to increase your strength. Simultaneously with the development of this motoric feature, the musculature of the lower body parts is extended. This is great news for anyone who wants to sculpt and emphasize their buttocks and two-headed muscles. The version on straight legs also allows good stretching of the back strap, which increases mobility in other exercises, such as squats, classic deadlift or dynamic exercises.
The most important technical note when performing a deadlift with straight legs is to bend the knees slightly.
This means that knee joints can not be permanently blocked during movement. All the more, you must not even prostrate in the knee joint, because it may cause injury.
We do the exercise with practically the same setting as the classic deadlift. The difference is that our legs are set narrowly. Through this procedure, we do not have much space to hide the pelvis when going down. That's why the knees should be bent slightly, and the whole movement is focused on pushing the pelvis backwards.
Depending on the stretch and mobility - the weight may or may not touch the ground. Many people have problems with this. Therefore, they lift the barbell not from the ground, but from the elevation.
All the time, remember to keep your back straight, the fixed angle of the knees bent, muscle tension and the removal of the shoulder blades.
For whom is the deadlift with straight legs?
A deadlift with straight legs should be included in the training plan of anyone looking for an effective method to develop the lower body musculature.
It will also be a great alternative for those who have stagnated in the classic version. Changing the sequence will give the muscles a different kind of impulse and break the deadlock.
A deadlift with straight legs will certainly be the domain of women wishing to carve thighs and buttocks. Men who care about the figure should also think about including this exercise - in this aspect - for their training plan.
A deadlift with straight legs - which muscles work in this exercise?
For this reason, all types of deadlift are such an effective training tool.
Deadlift with straight legs or classic one?
The choice of dead line version depends on several important factors.
The first of these is primarily a training goal.
The third issue is the priority.
In the case of a holistic approach to training and maximizing your training effects, it is worth to do both versions of the exercise.
A deadlift on straight legs in the training plan can be basic or complementary and alternative exercises. It is definitely worth using it, because it can bring incredible benefits to every gym practitioner. It is worth thinking about how to successfully use deadlift with straight legs into your training.


text:
The Temeke Regional Referral Hospital is a 304  bed hospital in Dar es Salaam, Tanzania servicing the Temeke District.

References

Hospitals in Tanzania


text:
2.9k readers
Movies Directed By Marc Forster
Updated September 24, 2019 2.9k views12 items
List of all movies directed by Marc Forster, listed alphabetically. These popular films directed by Marc Forster include trailers of the movies when available. This collection includes some of the best movies directed by Marc Forster, so use the list to find some movies you haven't already seen. From Marc Forster's studio films to Marc Forster's independent films, this Marc Forster filmography includes movies from all genres.
The list you're viewing is made up of a variety of different movies, including Loungers and Finding Neverland.
Almost all Marc Forster director credits are included. If you're wondering, "What movies did Marc Forster direct?" or "What is the best Marc Forster movie?" then this list will answer your questions.
list.itemsDescription
Everything Put Together
Megan Mullally, Radha Mitchell
Everything Put Together is a 2000 drama film directed by Marc Forster starring Radha Mitchell,... more on Wikipedia
Johnny Depp, Kate Winslet
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#370 of 1,189 Every Oscar Winning Film Ever#90 of 369 The Best Movies Based On Books
Sebastian Roché, Greg Lauren
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LX Forty
LX Forty is a 2009 short fantasy film written and directed by Marc Forster.
Gerard Butler, Michelle Monaghan
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#7 of 14 'True Story' Movies Based On Highly Questionable Sources#58 of 70 The Best Motorcycle Movies Ever Made
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Gemma Arterton, Eva Green
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#430 of 480 The Greatest Movies For Guys#521 of 557 The Greatest Film Scores of All Time
Ewan McGregor, Naomi Watts
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#270 of 280 The Best Whodunit Movies#3 of 22 The Most Pretentious Horror Movies Ever Made
Will Ferrell, Dustin Hoffman
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#474 of 1,137 The Absolute Funniest Movies Of All Time#732 of 925 The All-Time Greatest Comedy Films
The Chancellor Manuscript
Shaun Toub, Saïd Taghmaoui
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Marc ForsterEntertainment
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text:
Sturgeon Bay to produce 'Mary Poppins: The Broadway Musical;' April 25 show free for seniors
STURGEON BAY - The Theater Arts class at Sturgeon Bay High School presents its production of "Mary Poppins: The Broadway Musical" in four shows from April 25 to 28.
The Broadway production is based on the classic 1964 Disney movie, for which Julie Andrews won a Best Actress Academy Award as the magical nanny in the title, as well as elements from the series of children's books by P.L. Travers featuring the title character. It opened in London's West End in 2004 and won two Olivier Awards for British theater, then played 2,619 shows on Broadway between 2006 and '13 and was nominated for seven Tony Awards.
The stage musical offers all the songs from the movie as well as several new tunes and lively dances. As part of the Theater Arts program, Sturgeon Bay students will be involved in creating all aspects of the show, from costumes to set designs, lighting and sound.
The opening show is a special, free performance for area senior citizens at 10 a.m. April 25, with a free luncheon to follow. Reservations are requested; to make a reservation, call the school at 920-746-2819.
Other performances of "Mary Poppins: The Broadway Musical" are at 7 p.m. April 26 and 27 and 2 p.m. April 28 in the auditorium at Sturgeon Bay High School, 1230 Michigan St. Tickets are $10 for adults and $7 for students and will be available at the auditorium box office 30 minutes before each show. For more information, call 920-746-5742 or email Leslie Hill at lhill@sbsdmail.net.


Purpose: To document the nature and context of nucleotide substitutions in a sequence population relative to a reference sequence. See details below. For a simple "quick and dirty" scan for hypermutants, try the QC Tool.
Note: Sequences must be aligned, in-frame if possible, and of equal length.
These options apply only to Hypermut 2.0 analysis, and have no effect on the Original Hypermut output. For typical analyses of APOBEC-induced hypermutation in HIV, these options should be left in their default settings.
Rose, PP and Korber, BT. 2000. Detecting hypermutations in viral sequences with an emphasis on G -> A hypermutation. Bioinformatics 16(4): 400-401.


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text:
Reading Hydro CBS
Harness the power of the Thames by Caversham for the community.
less than 9 people
In 2013, different ideas for community energy projects were being kicked around Transition Town Reading's Energy Group. In early 2014, after discussing these ideas with the Greater Reading Environment Network, they came together and The Reading Sustainability Centre (TRSC) was formed. There are plenty of community hydro schemes across the UK, including close by. Upstream on the Thames there are Osney Lock Hydro in Oxford and Sandford Hydro, and downstream there's Sonning Hydro. TRSC started the development of a hydroelectric project on Caversham Weir, which turned into Reading Hydro.
Hydro is a great way to generate electricity. There's no emission of greenhouse gases or other pollutants while a hydro scheme generates electricity. The greenhouse gases emitted during manufacture and installation of the project will be quickly offset by the carbon saved by its operation. Research by Bangor University has indicated that this could take as little as seven months!
Electricity generation from a hydro scheme of this type is fairly constant and predictable. It will probably generate a bit more in winter (when the river flow is highest) than in summer. That's good news because the UK uses more electricity in winter. Hydro schemes also keep generating at night, when solar schemes stop.
Reading Borough Council granted them planning permission and the Environment Agency granted the licences to use the river. Reading Hydro has had strong links with the Reading Sustainability Centre from the start, as well as with Transition Town Reading and the Greater Reading Environment Network. In addition, they have had help from Low Carbon Hub and are a member of Community Energy England.
The two Archimedes Screw turbines should generate about 320MWh of renewable electricity each year, for decades to come. This is enough to supply about 90 average homes. The turbines themselves are a few metres wide and will operate in view of the public footpath that crosses the weir. Being close to the train station, town centre and easily accessible on foot, the hydro scheme location will be open to all to visit, including local schools, universities and community micro-generation groups from all around the country.
Protecting wildlife was an important consideration too. A new, more natural-style fish pass will be created through the site that will help eels and other fish move up stream. At the moment, some fish can only get up stream through the lock and the new fish pass should improve things for them considerably.
Reading Hydro recently raised £980,000 through a share offer with several different levels of investment to allow a range of people to participate in clean sustainable energy generation. As a Community Benefit Society (CBS), the organisation is a democratic co-operative that benefits the local community and returns profits to it. Building work on the site is commencing soon and should be completed within six months.
by Michael Beaven
Fundraising is not only about return on investment but also about supporting clean, sustainable, local electricity and contributing to a community asset that delivers long-term benefits.
Involving the broader community is an important part of the work, including local schools and businesses.
A local hydro scheme inspires people by making renewable energy a local, tangible option – not distant or even offshore.
Easy access to the sites and turbines in view are a fantastic educational tool, demonstrating sustainability right on our doorstep.
MWh of renewable energy generated.
Return for investors who bought shares.
Profits generated to support other community-led action to tackle climate change.
Read more: https://hydro.readinguk.org/
Avalon Community Energy
Provision of clean energy, reduction in carbon emissions & increased community benefit
Encirc
Reducing carbon emissions with Adrian Curry from Encirc captured as part of the Zero Carbon Tour.
James Cropper PLC
Reducing carbon emissions with Mark Cropper and Richard Graham from James Cropper Paper Makers captured as part of the Zero Carbon Tour.


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text:
Q: Rails 4 N+1 query present with includes I'm using the bullet gem, and it's notifying me of N+1 query. Here is how my models are connected:
class Meeting < ActiveRecord::Base
  has_many :meeting_notes, dependent: :destroy
end

Now meeting notes class :
class MeetingNote < ActiveRecord::Base
  belongs_to :department
  belongs_to :status
  belongs_to :budget_year
  belongs_to :notes_user, class_name: "User", foreign_key: :n_app_user_id
  belongs_to :leading_user, class_name: "User", foreign_key: :l_app_user_id
end

Department and status have methods and db columns department_name and status_name. User has first_name and last_name db columns, and active record model has a method full_name which returns concatenation of first_name and last_name or empty string if there is none of those in the db.
So when I display info about particular meeting like this (if you ignore the wrong synthax):
Name: #{Meeting_name}
Notes:
For department: #{Department_name}
With status: #{Status_name}
Notes taking user: #{Notes_user_full_name}
User taking initiative: #{Leading_user_full_name}

This fires N+1 query like this :
N+1 Query detected
  meeting_note => [:leading_user]
  Add to your finder: :includes => [:leading_user]

And this is my query :
Meeting.includes(meeting_notes: [:department, :status, :notes_user, :leading_user])
.where('budget_year.budget_year_id + ?', by_id).references(:budget_year)

However when I remove the leading_user from query and ui view, query like this :
Meeting.includes(meeting_notes: [:department, :status, :notes_user])
    .where('budget_year.budget_year_id + ?', by_id).references(:budget_year)

Or if I leave the leading_user on query and ui view and I take out the notes_user the N+1 query doesn't show up.
It's not just the bullet thing, it's when I look at the logs as well. When there are bullet warning I see multiple selects from user table which would be the N+1 queries. When there is no bullet warnings I don't see individual select from users query. What do I do here to avoid the N+1 ?
Anyone had similar experience? How did you fix it?

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If anyone fancies actually applying the system to a game, then seeing how the resultant score compares to a score out of 100 you'd give it off the bat, I'd be really interested to see how far out the two scores are.
I agree, but the reason percentage scores annoy me is that they are indefensibly precise. I really don't think you can rate a game 92.1% fun as opposed to 90.8% fun, because that implies a difference of 1.3% fun. What is 1.3% fun? That's a very precisely quantified value, but can anyone really describe 1.3 percentage points of fun?
There are great games out there, like SpaceChem, for which the first two questions aren't even relevant. SpaceChem would get 1/3 in this (it's really fun, but has bad graphics and no story). Meanwhile, a competently written game with decent presentation that is a total slog to play would get 2/3.
I'm not sure there is a set of criteria which are universally applicable as markers of quality across gaming, and I'm not sure that those criteria (if they exist) would be weighted the same across different genres (you'd want 'interesting story' to form a big component of a score for an RPG, but it's more of a small bonus for a racing game).
I still love the old head/heart out of ten scores, back in the day from the Press Start (or was it Push Start? Christ, I forget!) crew from here. Conveyed tons of info with that split.
Karl wrote: I'm not sure there is a set of criteria which are universally applicable as markers of quality across gaming.
Nor am I - but it's essentially what I'm looking for!
Pell wrote: I still love the old head/heart out of ten scores, back in the day from the Press Start (or was it Push Start? Christ, I forget!) crew from here. Conveyed tons of info with that split.
So I'm of the opinion that mere humans can only really, honestly, seriously answer questions about their subjective experiences with "yes," "kinda," and "no" and all of these attempts to use numbers and grades aren't really meaningful. I'm also of the opinion that you can compare general attributes of a game ("is it well-polished?" has applicability to every game) but not specific ones ("are the graphics good?" doesn't have any meaning for a text adventure).
This gets you your score on a scale of 0-10. At the very least it matches my idea of a 'perfect' game which would be great fun, highly innovative (at time of release, if we're going to judge games retrospectively), and very well polished.
If someone put a gun to my head and forced me to rate games out of 10 that's how I'd do it. But I'd still rather just rate a game on the 'scale' of "It's good!", "Eh, OKish..." or "Pretty bad" to be honest. Because at least that makes it really clear that it's a totally subjective summary of how much you liked it while you were playing it.
This might sound a little crazy, but I don't think a star system and a numerical system parse the same. It could be due to the association with hotel classification, but in a star rating system for games (and film), it feels to me more like stars are "awarded" for merit and excellence, rather than simply a mark out of 5. Yes, nothing can get more than 5 stars, but that doesn't mean it's a score out of five.
The reason a linear numeric scale doesn't work for critique is because people don't have as many shades of dislike in their repertoire as they do shades of like. You could easily tell the difference between a 7, 8 or a 9, but you'll have a much harder time doing the same with a 2, 3 or a 4. Nobody wants to waste their time with something they don't like, so they tend not to think as much about stuff below what they deem as average.
And, over time, anything at least a little fun gets scores 7 and above.
rinks wrote: I would seriously dispute that a longer game automatically deserves a higher score.
Agreed. Games like Civilization and FIFA have always been immeasurable by that metric anyway.
I'd also argue that, for PC games at least, scalability of graphics is an important consideration for some people. A game might look stunning when you've got eight GPUs, but I'd have to take your word for it.
Perhaps abstracts would be an interesting way of providing a brief summary of a reviewer's opinion, whilst not relying on pin the tail on the donkey scoring and making the reader actually read some of the journalist's work.
At the risk of sounding rude, I've got to say I really don't like your proposed system. I think it's far too complicated, and ultimately pointless, (no pun intended) given that you are attempting to apply some sort of scientific measurement to what is, ultimately, a subjective, holistic judgement.
I think that the best reviews make a reasonable attempt to objectively identify a game's essential merits, but also reflect the writer's own predilections.
It might not always be appropriate to comment on how long a game will last or if its graphics are 'special' or merely 'great'- and how is that to be judged, exactly? For all the people who think Wind Waker is unspeakably gorgeous, there are at least as many who think it looks childish and unappealing. So is the judgement based on an objective measurement of FPS, raw polygon count and textures/post-processing, or on a subjective assessment of how the visual design of the game holds together?
A well-written review should read like the score a game is ultimately given. If one were to read the reviews on Metro's GameCentral, for example, they are remarkably consistent in scoring their games in a way that reflects the comments and criticism in the text of the review. EDGE magazine is, in my opinion, slightly less consistent in this regard than it was in the past, but both of those publications use the full 1-10 scale. Thus I wasn't put off buying, for example, 'Space Channel 5', which EDGE gave 6/10 (above average), because the text of the review highlighted its abundant charm while pointing out that it was incredibly slight and ultimately amounted to little more than rote, rhythmic button pressing. It's one of my favourite games.
Breath of the Wild got 10/10.
The thing with both EDGE and GameCentral is, both would work without scores, because the reviews are well-written (and that is not to say that these are the only examples of good writing, by the way). Looking back at magazines like Mean Machines, or N64, or even Super Play, I get the sense that the scoring was more arbitrary. I can see why it would be irritating that one percentage point would mean the difference being recommended or not; in effect good or crap.
I think Mean Machines was bang on the money a lot of times, but they rarely used the full scale of their scoring system- ultimately anything scoring below 80% tended to be seen as poor, with real stinkers getting sub-50% scores. But they also reviewed themselves into a corner by giving 'Super Mario Bros. 3' 98%. This score then became the high watermark, and was applied to 'Super Mario World' and 'Street Fighter 2', and it was clear they were never going to give a game 100%, because, somehow, that extra 2% would have suggested perfection, in a way that 10/10 simply doesn't.
Super Play, particularly in the early days, seemed speculative rather than definitive in its judgements, and it was not always clear why one game scored higher than another.
N64's secondary ratings system (like Mean Machine's graphics/sound etc scores) was an exercise in futility. Giving a game a score for 'mastery'- how well the reviewer felt the developer had used the hardware, was completely pointless, given that it presupposed that each reviewer was somehow au fait with the development tools and the technical capabilities of the N64. Not once during the N64 era was it pointed out that the chief reason why no decent fighting games and very few racing games of note appeared on N64 was that the N64 couldn't generate anything like the number of raw polygons that the PlayStation could, so I'm not convinced that James Ashton or Jes 'Adverb' Bickham, as much as I enjoyed their writing, had a clue about the N64's challenging dev environment. And if they did, they then chose not to share that with their readership, making the 'Mastery' score doubly pointless.
Ultimately, a review's main aim is to tell the reader whether or not a game is worth spending money on. Nothing more or less. The best reviews do just that.
Attempting to place a game into an ultimate hierarchy is doomed to failure because the hierarchy will continually change as more games are released. Is a game poor, okay, good, great or amazing? Ultimately that's probably what's useful to know. And with the best will in the world, most people don't discuss entertainment in a particularly sophisticated or in-depth way anyway, so an insanely detailed scoring system, as well as being a ball-ache for any reviewer having to use it, is probably going to end up largely ignored too.
That turned out a bit longer than I planned, sorry!
Last edited by Karl_ on Tue Oct 10, 2017 1:56 pm, edited 2 times in total.
IMO scores have no place in a subjective article.
grog monster 64 wrote: That turned out a bit longer than I planned, sorry!
Not at all! I had no idea about that stat regarding the N64 and fighting games. And you're more than welcome to tear into my system!
rinks wrote: I think Eurogamer have got it right. Essential, Recommended, (no rating), Avoid.
Spot on. The only other one I like is no scoring at all, like Mafro suggests. However lots of sites won't do either of these because you won't get linked on metacritic.
Scores are useful for quickly determining if a reviewer is positive or negative about a game. I use metacritic a lot, and I find it most useful not for the average numerical score but for collating a load of reviews in one place and displaying them as short paragraph or two line summaries - that's normally all I really want and need to make up my mind about a game. Reading 10 short summaries of reviews is better than reading a single, long review.
Switching scores for a eurogamer system is fine too, as long as you can still get that quick general judgement.
Famitsu has a good system too. Four people reviewing it and the total is out of 40.
Good podcast (actually more than one) from Tired Old Hack, a.k.a. Chris Scullion, formerly of ONM, CVG and the frankly peerless ONM podcast, which I was an avid fan of, despite never buying the magazine.
romeo G. Detlev Jr. wrote: So... thoughts?
Awful. Too complicated and yet still vague.
What is "average amount of fun" for a start?
OrangeRakoon wrote: Scores are useful for quickly determining if a reviewer is positive or negative about a game. I use metacritic a lot, and I find it most useful not for the average numerical score but for collating a load of reviews in one place and displaying them as short paragraph or two line summaries - that's normally all I really want and need to make up my mind about a game. Reading 10 short summaries of reviews is better than reading a single, long review.
I go with Metacritic too, and here sometimes. Metacritic mauled Mafia 3 largely but I love it. Lots of reviews mentioned bugs though which I believe have been patched out.
Head/Heart is the best reviewing system ever created.


text:
New Coronavirus Variants Appear To Have Evolved In The U.S.
By Rob Stein
A virus that spreads a lot has many chances to mutate, and COVID-19 is doing both in this country. Researchers in the U.S. now say they've found at least seven new variants here. Now, other countries - the U.K., South Africa and Brazil - they've all reported variants, too, with some big questions - like, are they more dangerous? - still outstanding. NPR's health correspondent Rob Stein has been following this one. Hi, Rob.
ROB STEIN, BYLINE: Good morning, Noel.
KING: What have you learned about the U.S. variants?
STEIN: So the first of these variants was spotted by researchers in Louisiana, but it turns out the same kind of mutation looks like it also emerged completely independently at least seven times in this country. You know, that set off alarms because it suggests the virus is doing something called convergent evolution. That's when an organism evolves in a way that gives it some kind of superior power. Here's what Jeremy Kamil of Louisiana State University says about what the virus is doing. He spotted the mutation.
JEREMY KAMIL: It's infected millions of humans around the world now, and it's probably just, you know, getting into a more intimate relationship with our species.
STEIN: The question is, what does that more intimate relationship mean, exactly? Does it make it spread more easily from one person to another? Does it make it more contagious?
KING: Do researchers know the answers to that?
STEIN: Yeah, well, no one knows yet.
KING: OK.
STEIN: It looks like it's spreading quickly in the places where it's been spotted, but it's not at all clear if that's because of the mutation. You know, viruses mutate all the time. Sometimes, they're a big problem, but a lot of times, not so much. And there are other mutants that have been previously spotted in this country, like, you know, one that took over in Southern California. Scientists are still trying to figure out whether it's more contagious or, you know, it just got lucky. Now, this newly identified mutation occurred on a key protein that sticks out from the surface of the virus, called the spike protein. It's how the virus infects cells. It's also the target of drugs and vaccines, so any change could be really important. I talked about this with Andrew Pekosz at the Johns Hopkins Bloomberg School of Public Health.
ANDREW PEKOSZ: We should keep an eye on it. I myself have already passed this on to the people in my laboratory, and we're looking to see if we can find viruses with this mutation because if we can, we're going to bring it into the laboratory and try to study it to see what's actually happening here.
STEIN: Now, you know, to be clear, Pekosz means he passed on the details about these new variants...
STEIN: ...To his colleagues - yeah - so they can determine, you know, whether they're more contagious or not. Now, no one thinks there's any reason to panic - you know, far from it, actually. And we already know that there are those other variants circulating in this country that we know we should be worried about.
KING: And what about the non-U.S. variants, some of which were identified before ours? How are they evolving?
STEIN: Yeah. Yeah, so, you know, more than 1,100 cases of the one first flagged in the U.K. have been confirmed in at least 40 states. And British scientists just released more data that makes them even more worried than ever that in addition to spreading faster, it may also make people sicker. You know, and the first one spotted in South Africa has now been detected in at least eight states. And the one originally seen in Brazil is in at least two states. But the reality is they're probably already way more common than that. The U.S. just isn't sequencing the genetic code of the virus enough to really know how widespread they are and to spot any new variants fast. I talked about this with Saskia Popescu at George Mason University.
SASKIA POPESCU: We're flying blind right now when it comes to mutations and how prevalent they might be in the community already, so we really need to ramp it up.
STEIN: The CDC says it's trying to ramp it up, but the country still has a ways to go.
KING: And what about the vaccines that we currently have? Will they help against the new variants?
STEIN: Yeah, so the vaccines may be somewhat less effective against some of these variants, but so far, they seem to work pretty well. But the most important thing is to keep these viruses from spreading as much as we can, you know, to prevent any more dangerous ones from occurring. You know, the virus is still spreading like crazy in this country, which makes the U.S. essentially a giant petri dish that could easily produce even more new mutants.
KING: NPR health correspondent Rob Stein. Thanks for your reporting, Rob.
STEIN: You bet, Noel. Transcript provided by NPR, Copyright NPR.
Rob Stein is a correspondent and senior editor on NPR's science desk.
See stories by Rob Stein


text:
Kartik Aaryan receives a warm welcome on the sets of Pati Patni Aur Woh
By Bombay Talkies 07 28, 2019 | 11:50 PM
Kartik Aaryan, who was last seen with Kriti Sanon in Luka Chuppi, will be seen sharing screen space with Bollywood newbie Ananya Panday and Bhumi Pednekar for the first time in the upcoming flick.
Recently, Kartik shared a picture of himself while travelling to Lucknow, updating his fans that he will soon start shooting for Pati Patni Aur Woh. The young lad shared a dashing looking in-flight picture of himself and wrote, "#ChintuTyagi chale #Lucknow !! #PatiPatniAurWoh Kal se" (sic)." The star who was last seen with Kriti Sanon in Luka Chuppi will be seen sharing screen space with Bollywood newbie Ananya Panday and Bhumi Pednekar for the first time in the upcoming flick. While Bhumi has already kick-started shooting for the movie in Lucknow, Kartik recently landed in the 'city of Nawabs' to start shooting for the flick. The actor took to Instagram to share a picture with a cake which says, "Best Wishes for Pati Patni Aur Woh." Kartik captioned the post, "Nawabon ka Sheher."For this film, Kartik has ditched his usual boy next door look that he sports in most of his movies. The actor will be playing the role of Chintu Tyagi in the film. He will be seen in a simpler avatar, wearing a checked shirt and trousers. Pati Patni Aur Woh is a remake being directed by Mudassar Aziz, who has previously helmed films like Dulha Mil Gaya, Happy Bhag Jayegi and Happy Phirr Bhag Jayegi. The upcoming film is slated to release on December 6, 2019. Apart from this film, Bhumi Pednekar will be seen next in Saand Ki Aankh and Bala while Kartik will feature in Imtiaz Ali's next, co-starring Sara Ali Khan.
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text:
A Sci-Fi Dreamer's Poisoning Death Shocks China
December 31, 2020 by harishdanu
Chinese media, including official outlets, have widely identified the suspect as Xu Yao, an executive at Mr. Lin's gaming company, Youzu Interactive, which goes by Yoozoo in English. Those reports could not be independently confirmed, and the company did not respond to a request for comment.
It was not clear how or whether Mr. Lin's death would affect Netflix's plans for "The Three-Body Problem." Netflix did not immediately respond to an emailed request for comment.
In September, the American streaming service said it would turn the trilogy into an original series developed by David Benioff and D.B. Weiss, the executive producers of "Game of Thrones," with a creative team that included Liu Cixin, the author of the books. Mr. Lin was listed as an executive producer.
"The Three-Body Problem" is the first book in what Mr. Liu called the "Remembrance of Earth's Past" trilogy. The book, set in present-day China, tells the story of an engineer called upon by the Beijing authorities to look into a spate of suicides by scientists. He discovers an extraterrestrial plot with roots in the Cultural Revolution, the decade of paranoia that led to the persecution and torture of perceived enemies of the Communist Party, which lasted until Mao Zedong's death in 1976.
The English version of "The Three-Body Problem," translated by Ken Liu, became a sensation when it was released in 2014. It won the Hugo Award, a major science fiction accolade, for best novel. Mark Zuckerberg added it to his reading list. Mr. Obama, in an interview with The New York Times, called it "fun to read, partly because my day-to-day problems with Congress seem fairly petty — not something to worry about. Aliens are about to invade."
Mr. Lin made it his life's work to make the novel known to an even broader audience, according to an online memorial written by Chen Long, a professor who taught Mr. Lin at Hupan University, a business school. Beginning in 2014, Professor Chen said, Mr. Lin started buying up copyrights and licenses connected to the books.
By 2019, Professor Chen estimated, Mr. Lin had spent $150 million. His mission was to make the trilogy's world into an internationally recognized franchise, with movies, television shows, video games, anime and more, Mr. Chen wrote.
Married At First Sight: Love, life and new additions for Christchurch TV couple Breet and Angel – NZ Herald
'Ratatouille,' the Musical: How This TikTok Creation Came Together


Financial Accounting: Accounting as a Financial Information System -Impact of Behavioural Sciences. Accounting Standards e.g., Accounting for Depreciation, Inventories, Research and Development Costs, Long-term Construction Contracts, Revenue Recognition, Fixed Assets, Contingencies, Foreign Exchange Transactions, Investments and Government Grants, Cash Flow Statement, Earnings Per Share. Accounting for Share Capital Transactions including Bonus Shares, Right Shares, Employees Stock Option and Buy- Back of Securities, Preparation and Presentation of Company Final Accounts and Amalgamation, Absorption and Reconstruction of Companies.
Methods of Costing: Job Costing, Process Costing, Activity Based Costing. Volume – cost – Profit Relationship as a tool of Profit Planning.
Incremental Analysis/ Differential Costing as a Tool of Pricing Decisions, Product Decisions, Make or Buy Decisions, ShutDown Decisions, etc. Techniques of Cost Control and Cost Reduction: Budgeting as a Tool of Planning and Control. Standard Costing and Variance Analysis. Responsibility Accounting and Divisional Performance Measurement.
Set - Off and Carry Forward of Loss and Deductions from Gross Total Income.
Salient Features/Provisions Related to VAT and Services Tax.
Auditing: Company Audit: Audit related to Divisible Profits, Dividends and Special Investigations, Tax Audit, Audit of Banking, Insurance, Non-Profit Organizations and Charitable Societies/Trusts/Organizations.
Finance Function: Nature, Scope and Objectives of Financial Management: Risk and Return Relationship.
Tools of Financial Analysis: Ratio Analysis, Funds-Flow and Cash-Flow Statement.Capital Budgeting Decisions: Process, Procedures and Appraisal Methods. Risk and Uncertainty Analysis and Methods.
Cost of capital: Concept, Computation of Specific Costs and Weighted Average Cost of Capital. CAPM as a Tool of Determining Cost of Equity Capital.
Financing Decisions: Theories of Capital Structure - Net Income (NI) Approach, Net Operating Income (NOI) Approach, MM Approach and Traditional Approach. Designing of Capital structure: Types of Leverages (Operating, Financial and Combined) EBIT- EPS Analysis, and other Factors.
Indian Financial System: An Overview Money Markets: Participants, Structure and Instruments. Commercial Banks. Reforms in Banking sector. Monetary and Credit Policy of RBI. RBI as a Regulator.
Nature and Concept of Organisation - External Environment of Organizations -Technological, Social, Political, Economical and Legal, Organizational Goals - Primary and Secondary goals, Single and Multiple Goals; Management by Objectives.
Evolution of Organisation Theory: Classical, Neo-classical and Systems Approach. Modern Concepts of Organisation Theory:Organisat ional Design, Organisational Structure and Organisational Culture.
Designing Organizational Structures–Authority and Control, Line and Staff Functions, Specialization and Coordination. Types of Organization Structure –Functional. Matrix Structure, Project Structure. Nature and Basis of Power, Sources of Power, Power Structure and Politics. Impact of Information Technology on Organizational Design and Structure. Managing Organizational Culture.
Meaning and Concept: Individual in organizations: Personality, Theories, and Determinants; Perception - Meaning and Process.
Motivation: Concepts, Theories and Applications. Leadership-Theories and Styles. Quality of Work Life (QWL): Meaning and its impact on Performance, Ways of its Enhancement. Quality Circles (QC) – Meaning and their Importance. Management of Conflicts in Organizations. Transactional Analysis, Organizational Effectiveness, Management of Change.
Human Resources Management(HRM): Meaning, Nature and Scope of HRM, Human Resource Planning, Job Analysis, Job Description, Job Specification, Recruitment Process, Selection Process, Orientation and Placement, Training and Development Process, Performance Appraisal and 360° Feed Back, Salary and Wage Administration, Job Evaluation, Employee Welfare, Promotions, Transfers and Separations.
Nature of Industrial Disputes: Strikes and Lockouts, Causes of Disputes, Prevention and Settlement of Disputes.
Worker's Participation in Management: Philosophy, Rationale, Present Day Status and Future Prospects.
Adjudication and Collective Bargaining: Industrial Relations in Public Enterprises, Absenteeism and Labour Turnover in Indian Industries and their Causes and Remedies and ILO and its Functions, ECONOM.


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After a first EP Morning in Japan that revealed Fakear and took him on several french festival and clubs stages, the producer from Caen is back with his second EP, Dark Lands.
The beatmaker carries on a path he made himself with those enchanting voices dancing on a trip hop beat tainted of influences fed by the nature and orient sonorities. The result is a sensitive opus confirming the potential of Fakear.


text:
Home · Entertainment
Lupita Nyong'o and Danai Gurira Are Teaming Up Again
@lupitanyongo
By Britni Danielle · March 1, 2018
Fresh off the success of Marvel Studio's blockbuster smash hit Black Panther, two of the film's stars are reuniting to work on yet another project.
Four years ago Lupita Nyong'o announced she'd acquired the film rights to Chimamanda Ngozi Adichie's critically acclaimed novel, Americanah, and would be bringing it to the big screen. The book follows "two young Nigerian immigrants, Ifemelu and Obinze, who face a lifetime of struggle while their love story endures," and Nyong'o said she was producing and starring in the project.
Yes!!! 'Tis true: I acquired the rights to make a film of this amazing book by this amazing writer. I HIGHLY recommend the read. #Americanah #GrabIt
A post shared by Lupita Nyong'o (@lupitanyongo) on Jun 5, 2014 at 5:38pm PDT
A few months after the initial announcement, Selma star David Oyelowo was cast in the film to play Obinze, and fans became excited about the prospect of seeing the two Queen of Katwe principals work together again.
Since the initial flurry of news, however, there hasn't been much talk about the screen adaptation of Americanah until now.
According to pop culture site Konbini, Danai Gurira has signed on to write the script for Americanah, which is in development as a miniseries, not a film. It also marks the third time the pair will link up.
In addition to acting, Gurira is an award-winning playwright whose last production, Eclipsed, ran on Broadway and resulted in a Tony nomination for Nyong'o who started in the play.
The news that Nyong'o and Gurira are coming back together for Americanah excited many of the book's fans.
Danai Gurira and Lupita Nyong'o are adapting "Americanah" for a miniseries. February is ending with a damn bang. https://t.co/eXmitR6HoQ
— Evette Dionne 🤷🏾♀ (@freeblackgirl) February 28, 2018
I. Am. In. Love. Americanah is a classic worthy of adaptation. https://t.co/1j0wPtJYNA
— Ah-Shantè (@kikiwithki) February 28, 2018
HOT DAMN YESSSS I ASK MYSELF ONCE A MONTH WHERE THE FUCK THE AMERICANAH ADAPTATION IS https://t.co/MpwJEb72gg
— A.B. (@AlannaBennett) February 28, 2018
Americanah isn't the only book-to-screen project Nyong'o has in the works. Recently she signed on to produce and star in the film adaptation of Trevor Noah's best-selling memoir, Born A Crime.
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Learn about bobcats, the subject of this month's Creature Feature! / All photos by Monica Zalaznik
December Creature Feature: Stealth bobcats may be watching you from above, even if you can't see them
Monica Zalaznik
BUCKHANNON – Bobcats are more likely to be heard than seen, but they may be closer than anyone thinks.
The West Virginia Wildlife Center is home to three bobcats, one male and two females. Two of them were discovered in a field as kittens and turned over to the center, and the other was discovered by a biologist after it was abandoned by its mother.
In the wild, West Virginia Wildlife Center Biologist Trevor Moore said people are more likely to hear them, but hunters have reported sightings.
"You're mostly going to hear them – or you're going to see them when you're out hunting or holding still, and the bobcat doesn't know you're there," Moore said. "There's a lot of reports from hunters who see bobcats all the time while they're hunting, especially if they're coyote hunting, and they're using those calls of dying rabbits and things like that. Rabbits are a competing resource for bobcats and coyotes, so they're going to be drawn in as well."
Cats are cats, and whether big or little, they all enjoy a nice nap.
Bobcats are a very widespread species, Moore said.
"They cover all of the U.S. and most of Mexico, but they once they go up into Canada, they start running into competition with the Canadian lynx," Moore explained. "They are the same ecological predator as them, but it's bigger and better adapted to the snow."
While smaller than other big cats, bobcats have been known to prey on deer.
"Bobcats are very, very opportunistic feeders, and they will take anything they can get, so that ranges from small rodents, rabbits, hares, chickens, things like birds and there have been documented cases with them attacking deer and trying to prey on deer, especially in Florida where the deer are a little bit smaller," Moore said. "The deer thing surprised me; they don't do well in the snow because they don't have big paws like the Canadian lynx, which is probably one of the reasons why they get out-competed in parts of Canada."
While bobcats have very distinguishable features such as the tufts on their ears, the sounds they make are also recognizable.
"They have two different sounds where it's like a little like a cough or a bark, and then especially when they're getting together for a reproduction they make strange sounds," Moore said. "They're very typically loners, and they tend to have very well-defined territories they mark with urine and feces. They're typically very solitary until they get together to mate and then mom will raise the kitten for a bit and then they'll disperse pretty quickly after that."
The cats are crepuscular, which means they are most active at dawn and dusk.
"Their behavior can shift because, in the winter, it's going to get dark earlier, so they might be active a little bit sooner in the day and in the summer, they're going to be more active later," Moore said. "For the most part, they're probably just hunting, finding forage or marking their territories and borders."
The West Virginia population of bobcats is quite healthy, and bobcats are more common than people may think.
"They're definitely very, very active in West Virginia, a big detriment to a lot of species is habitat fragmentation, so bobcats have done really well on being adaptive enough to be okay in urban settings a little bit," Moore said. "A lot of people have bobcats around, and they don't even know it – that's how secretive and quiet they are. They're definitely still around, and we have a healthy population."
Just like the bobcats at the Wildlife Center, it's possible to see bobcats in the wild sitting in trees.
"That's definitely one of their defensive measures, a very classic cat maneuver," Moore said. "Adult bobcats don't have a lot of big predators, but coyotes will chase them, wolves and cougars will both eat them if they can. There's even been reports of golden eagles and other eagles picking off kittens and a bobcat doesn't necessarily want to fight, so it might just run up a tree because the coyote or the fox isn't going to be able to get it up there – that's the classic defensive behavior."
For directions or to learn more about the West Virginia Wildlife Center, visit its website.
A bobcat at the W.Va. Wildlife Center just 'cat-loafin' around.'


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Jillian Underwood
Growing up in Wingham for me consisted of countless hours, ripping up and down the Burton's outdoor ice rink; playing in my friends' fort while spying on the boys across the street; and jumping on the Leitch's trampoline until we couldn't jump anymore. I even remember the time to get home alarm from the twins' mother who would whistle a piercing sound, to call everyone in for the night. But most of all, my fondest memories were hopping on our bikes and heading down to Vic's corner store, where we would graciously count out 100 penny candies and proudly pay with the dollar we had bugged our parents for. It's only in a small town where a store has such an impact of creating long lasting memories. I'm sad to admit these childhood days are gone. However, many forever friendships and memories have been made from growing up in this small town.
My name is Jillian Underwood. I was born and raised in Wingham and I am happy to say I love living in Wingham and I'm honoured to call it home. Over the years, I have lived in Barrie, London and Kitchener. But nothing is as warming as being able to come home to Wingham, to enjoy the close knit community that we hold dear. Wingham doesn't have everything you would find in a city but what we do have is a fantastic downtown core. Local merchants work hard to help us with our buying purchases, and they take pride in servicing our community while at the same supporting their families. Our retail sector may not be open 24/7 but we do become accustomed to their business hours. The spirit here is very uplifting. In the spring, you get to see all the unique storefronts decorated to cheer on the local hockey teams and at Christmas each business festively decorates for the holidays. It's nice to see the character of the town that we embellish as a whole. Wingham offers a variety of niche businesses and industries that employs members of our community, which in return has helped us to remain strong and keep growing. I might include I'm impressed to see how positively Maitland River Elementary School has formed Wingham into a hub for neighbouring communities. Recently I became a real estate agent and I look forward to helping my friends and their expanding families build lasting memories of their own here. I hope they love it here as much as I do and realize it truly is a great place to call home!
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