CANADIAN THEATRE REVIEW最新文献

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Loss of LBP triggers lipid metabolic disorder through H3K27 acetylation-mediated C/EBPβ- SCD activation in non-alcoholic fatty liver disease. 在非酒精性脂肪肝中，LBP 的缺失通过 H3K27 乙酰化介导的 C/EBPβ- SCD 激活引发脂质代谢紊乱。

IF 4.9 3区艺术学 0 THEATER

CANADIAN THEATRE REVIEW

Pub Date : 2024-01-18 DOI: 10.24272/j.issn.2095-8137.2023.022

Ya-Ling Zhu, Lei-Lei Meng, Jin-Hu Ma, Xin Yuan, Shu-Wen Chen, Xin-Rui Yi, Xin-Yu Li, Yi Wang, Yun-Shu Tang, Min Xue, Mei-Zi Zhu, Jin Peng, Xue-Jin Lu, Jian-Zhen Huang, Zi-Chen Song, Chong Wu, Ke-Zhong Zheng, Qing-Qing Dai, Fan Huang, Hao-Shu Fang

Non-alcoholic fatty liver disease (NAFLD) is associated with mutations in lipopolysaccharide-binding protein ( LBP), but the underlying epigenetic mechanisms remain understudied. Herein, LBP ^-/- rats with NAFLD were established and used to conduct integrative targeting-active enhancer histone H3 lysine 27 acetylation (H3K27ac) chromatin immunoprecipitation coupled with high-throughput and transcriptomic sequencing analysis to explore the potential epigenetic pathomechanisms of active enhancers of NAFLD exacerbation upon LBP deficiency. Notably, LBP ^-/- reduced the inflammatory response but markedly aggravated high-fat diet (HFD)-induced NAFLD in rats, with pronounced alterations in the histone acetylome and regulatory transcriptome. In total, 1 128 differential enhancer-target genes significantly enriched in cholesterol and fatty acid metabolism were identified between wild-type (WT) and LBP ^-/- NAFLD rats. Based on integrative analysis, CCAAT/enhancer-binding protein β (C/EBPβ) was identified as a pivotal transcription factor (TF) and contributor to dysregulated histone acetylome H3K27ac, and the lipid metabolism gene SCD was identified as a downstream effector exacerbating NAFLD. This study not only broadens our understanding of the essential role of LBP in the pathogenesis of NAFLD from an epigenetics perspective but also identifies key TF C/EBPβ and functional gene SCD as potential regulators and therapeutic targets.

非酒精性脂肪肝（NAFLD）与脂多糖结合蛋白（LBP）的突变有关，但其潜在的表观遗传学机制仍未得到充分研究。在此，研究人员建立了LBP -/-非酒精性脂肪肝大鼠，并利用其进行综合靶向活性增强子组蛋白H3赖氨酸27乙酰化（H3K27ac）染色质免疫共沉淀以及高通量和转录组测序分析，以探索LBP缺乏时非酒精性脂肪肝加重的活性增强子的潜在表观遗传学病理机制。值得注意的是，LBP -/-降低了炎症反应，但明显加重了高脂饮食（HFD）诱导的大鼠非酒精性脂肪肝，组蛋白乙酰组和调控转录组发生了明显改变。在野生型（WT）和 LBP -/- NAFLD 大鼠之间共发现了 1 128 个显著富含胆固醇和脂肪酸代谢的不同增强子-靶基因。根据综合分析，CCAAT/增强子结合蛋白β（C/EBPβ）被确定为关键转录因子（TF）和组蛋白乙酰基组H3K27ac失调的贡献者，脂质代谢基因SCD被确定为加重非酒精性脂肪肝的下游效应因子。这项研究不仅从表观遗传学的角度拓宽了我们对枸杞多糖在非酒精性脂肪肝发病机制中的重要作用的认识，而且确定了关键的TF C/EBPβ和功能基因SCD作为潜在的调控因子和治疗靶点。

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引用次数: 0

Casting Blackface in Canada: Unmasking the History of ‘White and Black’ Minstrel Shows 在加拿大铸造黑脸：揭开“白人和黑人”明斯特秀的历史

IF 0.3 3区艺术学 0 THEATER

CANADIAN THEATRE REVIEW

Pub Date : 2023-02-01 DOI: 10.3138/ctr.193.004

C. Thompson

Abstract:Blackface minstrelsy was the dominant form of mass entertainment for over a century, from the 1840s through the 1940s. In Canada, there has been little scholarly research into the topic but for the work of Stephen Johnson and, in recent years, the works I have published on the subject. One of the reasons blackface has been understudied is the dearth of attention paid to histories of slavery. By exploring the history of casting blackface productions, both ‘white’ minstrelsy (white performers blackening up to imitate the song and dance of African-Americans) and ‘Black’ minstrelsy (Black performers in and out of blackface performing caricatures of themselves in front of majority-white audiences), we gain an understanding of how these shows were produced, and what audiences found appealing about them. Canada has produced its own blackface stars, like Colin ‘Cool’ Burgess (1840–1905) and Calixa Lavallée (1842–1891), both of whom toured the United States and Canada in the late nineteenth century and who not only performed in blackface but also produced songs, some of which are still known today, like “O Canada,” the Canadian national anthem, composed by Lavallée in 1880. Additionally, what the history of casting blackface in Canada shows is a long-standing desire among white audiences for depictions of the American Plantation South that often included the participation of local actors like playwright and writer Charles Wesley Handscomb (1867–1906), who moved to Winnipeg in 1879, who were often cast in touring minstrel productions to sing in blackface.

摘要:从19世纪40年代到20世纪40年代，黑脸吟游诗人在一个多世纪的时间里一直是大众娱乐的主导形式。在加拿大，除了斯蒂芬·约翰逊(Stephen Johnson)的工作以及近年来我发表的有关该主题的作品外，对该主题的学术研究很少。人们对黑人面孔研究不足的原因之一是对奴隶制历史缺乏关注。通过探索黑脸演出的历史，无论是“白人”吟游诗人(白人表演者把自己打扮成黑人模仿非裔美国人的歌舞)还是“黑人”吟游诗人(黑人表演者在大多数白人观众面前用黑脸或非黑脸表演自己的漫画)，我们了解了这些节目是如何制作的，以及观众对它们的吸引力是什么。加拿大产生了自己的扮演黑人明星,像科林“酷”伯吉斯(1840 - 1905)和Calixa Lavallee(1842 - 1891),两人参观了美国和加拿大在19世纪晚期,不仅表现在扮演黑人也产生的歌曲,其中一些仍然是已知的今天,像“加拿大阿,”加拿大国歌,由Lavallee在1880年。此外，加拿大黑人扮相的历史表明，白人观众长期以来一直渴望描绘美国南方种植园，这通常包括当地演员的参与，比如剧作家和作家查尔斯·韦斯利·汉斯科姆(Charles Wesley Handscomb, 1867-1906)，他于1879年搬到温尼伯，他们经常在巡回吟游诗人作品中扮演黑人。

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引用次数: 0

Introduction: Casting Calls/Calls for Change 导言:选角要求/改变要求

IF 0.3 3区艺术学 0 THEATER

CANADIAN THEATRE REVIEW

Pub Date : 2023-02-01 DOI: 10.3138/ctr.193.001

Mariló Núñez, Jamie Robinson, Marlis Schweitzer, Yasmine Amirkhani, Liam Lockhart-Rush, Zoe Marin

#1 Character Descriptions: We are committed to authentically casting equity-seeking characters, including BIPOC, 2SLGBTQ+, d/Deaf, and/or disabled characters. The character descriptions ... represent our understanding of each character’s identity. We ask that artists only submit for characters within their own lived experience. We welcome submissions for these roles from INSERT artists and artists from the wider INSERT diaspora who are comfortable playing INSERT. All of the characters (apart from INSERT and INSERT) are INSERT GENDERS in the INSERT COUNTRY.

#1角色描述:我们致力于真实地塑造寻求平等的角色，包括BIPOC, 2gbtq +，聋哑人和/或残疾人角色。人物描述……代表我们对每个角色身份的理解。我们要求美术师只提交他们自己生活经历中的角色。我们欢迎来自INSERT艺术家和来自更广泛的INSERT侨民的艺术家提交这些角色的申请。所有字符(除了INSERT和INSERT)都是INSERT国家中的INSERT性别。

引用次数: 1

Writers and Race: Why Playwrights of Colour Should Write Themselves into Their Plays 作家与种族：为什么有色人种剧作家应该把自己写进他们的戏剧中

IF 0.3 3区艺术学 0 THEATER

CANADIAN THEATRE REVIEW

Pub Date : 2023-02-01 DOI: 10.3138/ctr.193.012

Mariló Núñez

Abstract:Marilo Nuñez analyzes how playwrights write race into their work by building on a conversation with fellow playwright Marie Barlizo, to encourage more racialized playwrights to attend to the specificity of race in their writing process.

摘要：Marilo Nuñez通过与另一位剧作家Marie Barlizo的对话，分析了剧作家如何将种族写入作品，以鼓励更多种族化的剧作家在写作过程中关注种族的特殊性。

引用次数: 0

“The Biggest Mistake You Ever Made Was Thinking That Nobody Cared about Me”: The Representation of Black Lives in Our Fathers, Sons, Lovers and Little Brothers “你犯过的最大的错误是认为没有人关心我”:黑人生活在我们的父亲、儿子、情人和小兄弟中的表现

IF 0.3 3区艺术学 0 THEATER

CANADIAN THEATRE REVIEW

Pub Date : 2023-02-01 DOI: 10.3138/ctr.193.018

Andrea A. Davis, C. James

Abstract:In this review of the 2022 performance of Our Fathers, Sons, Lovers and Little Brothers, Andrea A. Davis and Carl E. James, from their respective disciplines in Black literary and cultural studies, education, and sociology, engage in a conversation about Makambe K. Simamba’s play. In their conversation, they unpack questions about Black spirituality, the social construction of gender as a raced category, and the difficulty of articulating anti-Black racism in Canada. Their conversation is framed by a critical analysis that locates the play’s action within an understanding of Black community that exceeds national and geographical boundaries, connecting Black experiences in the United States and Canada.

摘要：在这篇关于《我们的父亲、儿子、情人和小兄弟》2022年演出的综述中，安德里亚·A·戴维斯和卡尔·E·詹姆斯分别来自黑人文学和文化研究、教育和社会学学科，他们就马坎贝·K·西曼巴的戏剧进行了对话。在他们的对话中，他们解开了关于黑人精神、性别作为种族类别的社会建构以及在加拿大表达反黑人种族主义的困难的问题。他们的对话以批判性分析为框架，该分析将该剧的行动定位于对黑人社区的理解，这种理解超越了国家和地理界限，将美国和加拿大的黑人经历联系起来。

引用次数: 1

A Generous Incantation: Interdependent Magic: Disability Performance in Canada 慷慨的咒语:相互依存的魔法:加拿大的残疾表演

IF 0.3 3区艺术学 0 THEATER

CANADIAN THEATRE REVIEW

Pub Date : 2023-02-01 DOI: 10.3138/ctr.193.017

Kelsie Acton

Abstract:Interdependent Magic, curated by Jessica Watkin, is the first anthology of plays by disabled Canadian playwrights from Playwrights Canada Press. It includes pieces by Alex Bulmer, the Boys in Chairs Collective, Syrus Marcus Ware, and Chris Dodd, as well as an interview with Niall McNeil. In this review, Kelsie Acton considers the ways in which the strength of this volume lies not just in the quality and diversity of playwriting featured but also in the care the editor has taken in framing the work. Watkin offers two introductions, one aimed at audiences familiar with disability justice and disability arts and the other aimed at audiences new to disability culture. Interdependent Magic acknowledges the diversity of disabled playwrights in Canada and the diversity of audiences who will read their work.

摘要：杰西卡·沃特金策划的《相互依存的魔法》是加拿大剧作家出版社的第一本加拿大残疾剧作家戏剧选集。其中包括Alex Bulmer、Boys in Chairs Collective、Syrus Marcus Ware和Chris Dodd的作品，以及对Niall McNeil的采访。在这篇综述中，凯尔西·阿克顿认为，这本书的优势不仅在于剧本写作的质量和多样性，还在于编辑在构思作品时所采取的谨慎态度。Watkin提供了两个介绍，一个面向熟悉残疾司法和残疾艺术的观众，另一个面向新接触残疾文化的观众。《相互依存的魔法》承认加拿大残疾剧作家的多样性以及阅读他们作品的观众的多样性。

引用次数: 0

The Antigone Play 安提戈涅剧

IF 0.3 3区艺术学 0 THEATER

CANADIAN THEATRE REVIEW

Pub Date : 2023-02-01 DOI: 10.3138/ctr.193.013b

Tabia Lau

引用次数: 0

Making a CoMotion 进行CoMotion

IF 0.3 3区艺术学 0 THEATER

CANADIAN THEATRE REVIEW

Pub Date : 2023-02-01 DOI: 10.3138/ctr.193.016

R. Knowles

Abstract:The inaugural CoMotion: A Deaf and Disability Arts Festival at Toronto’s Harbourfront Centre from 20 April to 1 May 2022, curated by blind theatre artist Alex Bulmer, presented six live and four digital performances, six visual arts exhibitions, and four panels and conversations, a Q&A with Bulmer, and an “every-body-can-dance” workshop. The festival featured blind, Deaf, and neurodivergent artists, amputees, stutterers, and those with chronic pain or fatigue or with degenerative diseases. Some of the work served primarily a community-building function, some adhered to the familiar disability genres of the tragic or inspirational, but most celebrated the disability artist’s refusal of both exclusion and inclusion. The best of the festival’s offerings were not about overcoming disabilities but about joyful, if clear-eyed, engagement with the opportunities disability can offer.

摘要：2022年4月20日至5月1日，由盲人戏剧艺术家Alex Bulmer策划的首届CoMotion：聋人和残疾人艺术节在多伦多海滨中心举行，共有六场现场表演和四场数字表演、六场视觉艺术展览、四场小组讨论和对话、一场与Bulmer的问答以及一场“人人都能跳舞”研讨会。该艺术节以盲人、聋人和神经分化艺术家、截肢者、口吃者以及慢性疼痛或疲劳或退行性疾病患者为特色。其中一些作品主要起到了社区建设的作用，一些作品坚持了人们熟悉的悲剧或励志的残疾类型，但最著名的是残疾艺术家拒绝排斥和包容。这个节日最好的节目不是关于克服残疾，而是关于快乐的，如果头脑清醒的话，参与残疾所能提供的机会。

引用次数: 0

“There Is No Such Thing as Colour-Blindness”: Artistic Directors on Culturally Specific Casting “没有色盲这回事”：艺术指导对文化特定选角的思考

IF 0.3 3区艺术学 0 THEATER

CANADIAN THEATRE REVIEW

Pub Date : 2023-02-01 DOI: 10.3138/ctr.193.008

Santiago Guzmán, R. Varma, Pam Patel, Ari Weinberg, Colin Wolf, Mercedes Bátiz-Benét

ABSTRACT:The editorial team invited artistic directors from culturally specific theatre companies from across the country to offer their perspective on what culturally specific casting means to them. Their responses address a variety of topics, from culturally specific and colour-blind casting to audition rooms and community conversations.

摘要：编辑团队邀请了来自全国各地特定文化剧院公司的艺术总监，就特定文化选角对他们意味着什么发表自己的看法。他们的回答涉及各种各样的话题，从特定文化和色盲选角到试镜室和社区对话。

引用次数: 0

Making Change from Within: Political Adaptation as Activism 从内部做出改变:政治适应作为行动主义

IF 0.3 3区艺术学 0 THEATER

CANADIAN THEATRE REVIEW

Pub Date : 2023-02-01 DOI: 10.3138/ctr.193.015

Paula Danckert

ABSTRACT:Political Adaptation in Canadian Theatre, by Kailin Wright, is an excellent addition to the discourse on theatre adaptations. Wright applies theories of adaptation, identification, performance, Indigenous dramaturgy, and speech acts to define political adaptation as distinct from adaptation “proper”. She contends that political adaptations activate publics or, in her terms, “dispublics,” toward changed perspectives on inherited narratives. Seminal to her argument is Michel Pêcheux’s tripartite terminology, which describes the relationship of the spectator to mainstream culture as identification, counteridentification, and disidentification.

摘要：凯琳•赖特的《加拿大戏剧中的政治改编》是对戏剧改编话语的一次极好补充。赖特运用改编、认同、表演、土著戏剧和言语行为等理论，将政治改编定义为不同于改编的“适当”。她认为，政治适应激活了公众，或者用她的话说，是“争议性的”，从而改变了对继承叙事的看法。米歇尔·佩切（Michel Pêcheux）的三方术语是她论点的核心，该术语将观众与主流文化的关系描述为认同、反认同和不认同。

引用次数: 0

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