Aesthetics, Repertoire, Roles, and Playbills

Author(s):  
Nancy Yunhwa Rao

This chapter provides a survey of Cantonese opera, its connection to other genres of Chinese opera, its music, repertoire, vocal style, accompanying instruments, etc. Because the performance practice changed over time, this chapter draws from a wealth of primary and secondary documents to offer a working knowledge of Cantonese opera as it was practiced in North American during the 1920s. Over 1000 Chinese playbills from San Francisco, New York City, Vancouver, Seattle and Havana between 1917 and 1929 provide the foundation for understanding the popular repertoire during the time. In addition, commentaries in Chinese newspapers, as well as memoirs and oral histories from veteran performers reveal much about the historical performance practice. Taken together, these resources form the basis of an understanding of the Cantonese opera in this period ranging from the increased usage of stage backdrops and stage props, a gradual shift of popular role types and vocal styles, and popular novel repertoire types. A reflection on the significance of daily opera playbill closes the chapter.

Author(s):  
Nancy Yunhwa Rao

This chapter documents the rise of Cantonese opera theater in New York City from the mid-nineteenth century through the 1920s. By the mid-1920s, the New York theaters became a nodal point of the performing network linking San Francisco, Los Angeles, and elsewhere, sharing many of its talented performers. In New York's Chinatown, opera was an art form that united spectacle, drama, local and visiting talents, regional musical tastes, and musical tradition into a vibrant whole. At the height of its golden age, Chinese theater had taken its place in a city with a long and prestigious tradition in the theatrical and performing arts. Two theaters were established during this period: Jock Ming On and Lok Tin Tsau. The former arrived New York City from Vancouver, while the latter via Toronto and Boston. In 1927, the two merged to form Yong Ni Shang Theater. Many performers discussed in previous chapters reappear in this chapter. In addition, the chapter discusses the relation between Peking opera star, Mei Lanfang’s US tour and Chinatown theaters. Finally, through a close analysis of the phonograph record advertisement, the chapter reflects on the connection of Cantonese opera and the community.


2020 ◽  
Vol 42 (3) ◽  
pp. 448-450
Author(s):  
Wil Lieberman-Cribbin ◽  
Naomi Alpert ◽  
Adam Gonzalez ◽  
Rebecca M Schwartz ◽  
Emanuela Taioli

Abstract In the midst of widespread community transmission of coronavirus disease 2019 (COVID-19) in New York, residents have sought information about COVID-19. We analyzed trends in New York State (NYS) and New York City (NYC) data to quantify the extent of COVID-19-related queries. Data on the number of 311 calls in NYC, Google Trend data on the search term ‘Coronavirus’ and information about trends in COVID-19 cases in NYS and the USA were compiled from multiple sources. There were 1228 994 total calls to 311 between 22 January 2020 and 22 April 2020, with 50 845 calls specific to COVID-19 in the study period. The proportion of 311 calls related to COVID-19 increased over time, while the ‘interest over time’ of the search term ‘Coronavirus’ has exponentially increased since the end of February 2020. It is vital that public health officials provide clear and up-to-date information about protective measures and crucial communications to respond to information-seeking behavior across NYC.


2021 ◽  
Author(s):  
Sergio Dellepiane ◽  
Akhil Vaid ◽  
Suraj K Jaladanki ◽  
Ishan Paranjpe ◽  
Steven Coca ◽  
...  

AbstractAcute Kidney Injury (AKI) is among the most common complications of Coronavirus Disease 2019 (COVID-19). Throughout 2020 pandemic, the clinical approach to COVID-19 has progressively improved, but it is unknown how these changes have affected AKI incidence and severity. In this retrospective analysis, we report the trend over time of COVID-19 associated AKI and need of renal replacement therapy in a large health system in New York City, the first COVID-19 epicenter in United States.


Author(s):  
Thelma Rohrer

An American potter known for luster-glaze chalices and whimsical ceramic figures, Beatrice Wood was once named the "Mama of Dada." Born on 3 March 1893 into a wealthy family in San Francisco, California, raised in New York City, and a student at the Académie Julian in Paris, Wood rebelled from her traditional upbringing by 1912. Seeking a more bohemian life, she joined avant-garde art circles, became friends with Marcel Duchamp and Henri-Pierre Roché, and was influential in the New York Dada movement. During the 1930s, her early successes in ceramics provided independent income and, by 1948, she settled in Ojai, California, to continue her interest in theosophy. She established a studio developing embedded luster glazes with radiant colors and continued this work for over thirty years. Wood was recognized as a "California Living Treasure" by her native state, named an "Esteemed American Artist" by the Smithsonian Institution, and partly inspired the character "Rose" in the 1997 film Titanic. She died on 12 March 1998 at the age of 105.


1935 ◽  
Vol 118 (16) ◽  
pp. 454-454

NEW WORLD OF CHEMISTRY. By Bernard Jaffe, Bushwick High School, New York City. New York, Newark, Boston, Chicago, San Francisco: Silver, Burdett & Company.


2021 ◽  
Vol 111 (1) ◽  
pp. 121-126
Author(s):  
Qiang Xia ◽  
Ying Sun ◽  
Chitra Ramaswamy ◽  
Lucia V. Torian ◽  
Wenhui Li

The Centers for Disease Control and Prevention (CDC) and local health jurisdictions have been using HIV surveillance data to monitor mortality among people with HIV in the United States with age-standardized death rates, but the principles of age standardization have not been consistently followed, making age standardization lose its purpose—comparison over time, across jurisdictions, or by other characteristics. We review the current practices of age standardization in calculating death rates among people with HIV in the United States, discuss the principles of age standardization including those specific to the HIV population whose age distribution differs markedly from that of the US 2000 standard population, make recommendations, and report age-standardized death rates among people with HIV in New York City. When we restricted the analysis population to adults aged between 18 and 84 years in New York City, the age-standardized death rate among people with HIV decreased from 20.8 per 1000 (95% confidence interval [CI] = 19.2, 22.3) in 2013 to 17.1 per 1000 (95% CI = 15.8, 18.3) in 2017, and the age-standardized death rate among people without HIV decreased from 5.8 per 1000 in 2013 to 5.5 per 1000 in 2017.


1996 ◽  
Vol 144 (10) ◽  
pp. 916-923 ◽  
Author(s):  
B. A. Koblin ◽  
N. A. Hessol ◽  
A. G. Zauber ◽  
P. E. Taylor ◽  
S. P. Buchbinder ◽  
...  

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