03826 am 22006133u 450 991033070680332120230621140535.010.7765/9781526147288(CKB)4100000008710971(oapen)https://directory.doabooks.org/handle/20.500.12854/32570(DE-B1597)660204(DE-B1597)9781526147288(EXLCZ)99410000000871097120190721h20192019 fy| 0engur||#---uu|||txtrdacontentcrdamediacrrdacarrierStreet theatre and the production of postindustrial space working memories /David CalderManchester, UKManchester University Press2019Manchester, UK :Manchester University Press,2019.©20191 online resource (x, 205 pages) illustrations (black and white); digital, PDF file(s)Theatre. Theory, practice, performance1-5261-4728-9 Includes bibliographical references and index.Street theatre and the production of postindustrial space explores how street theatre transforms industrial space into postindustrial space. Deindustrializing communities have increasingly turned to cultural projects to commemorate industrial heritage while simultaneously generating surplus value and jobs in a changing economy. Through analysis of French street theatre companies working out of converted industrial sites, this book reveals how theatre and performance more generally participate in and make historical sense of ongoing urban and economic change. The book argues, firstly, that deindustrialization and redevelopment rely on the spatial and temporal logics of theatre and performance. Redevelopment requires theatrical events and performative acts that revise, resituate, and re-embody particular pasts. The book proposes working memory as a central metaphor for these processes. The book argues, secondly, that in contemporary France street theatre has emerged as working memory's privileged artistic form. If the transition from industrial to postindustrial space relies on theatrical logics, those logics will manifest differently depending on geographic context. The book links the proliferation of street theatre in France since the 1970s to the crisis in Fordist-Taylorist modernity. How have street theatre companies converted spaces of manufacturing into spaces of theatrical production? How do these companies (with municipal governments and developers) connect their work to the work that occurred in these spaces in the past? How do those connections manifest in theatrical events, and how do such events give shape and meaning to redevelopment? Street theatre’s function is both economic and historiographic. It makes the past intelligible as past and useful to the present.Theatre (Manchester, England)Street theaterTheaterHistory21st centuryDramaHistory and criticismTheater and societyPublic spacesstreet theatrepostindustrial spacedeindustrializationredevelopmentworking memorytheatricalityperformativitytheatre historiographyStreet theater.TheaterHistoryDramaHistory and criticism.Theater and society.Public spaces.792.0220944Calder David905275UkMaJRUBOOK9910330706803321Street theatre and the production of postindustrial space2024568UNINA01590nam 2200361 450 991013575360332120231206173940.00-7381-2411-7(CKB)3780000000089152(NjHacI)993780000000089152(EXLCZ)99378000000008915220231206d1988 uy 0engur|||||||||||txtrdacontentcrdamediacrrdacarrierANSI/IEEE Std 176-1987 IEEE Standard on Piezoelectricity /IEEENew York, N.Y. :IEEE,1988.1 online resource (54 pages) illustrationsThis standard on piezoelectricity contains many equations based upon the analysis of vibrations in piezoelectric materials having simple geometrical shapes. Mechanical and electrical dissipation are never introduced into the theoretical treatment, and except for a brief discussion of nonlinear effects, all the results are based on linear piezoelectricity in which the elastic, piezoelectric, and dielectric coefficients are treated as constants independent of the magnitude and frequency of applied mechanical stresses and electric fields.ANSI/IEEE Std 176-1987: IEEE Standard on PiezoelectricityPiezoelectricityPiezoelectricityStandardsPiezoelectricity.PiezoelectricityStandards.537.2446NjHacINjHaclDOCUMENT9910135753603321ANSI2072434UNINA