DOCSLIB.ORG

Download Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Download ISSN 2002-3898 © Ken Nielsen and Nordic Theatre Studies DOI: https://doi.org/10.7146/nts.v25i1.110898 Published with support from Nordic Board for Periodicals in the Humanities and Social Sciences (NOP-HS) Gone With the Plague: Negotiating Sexual Citizenship in Crisis Ken Nielsen ABSTRACT This article suggests that two historical performances by the Danish subcultural theatre group Buddha og Bag- bordsindianerne should be understood not simply as underground, amateur cabarets, but rather that they should be theorized as creating a critical temporality, as theorized by David Román. As such, they function to complicate the past and the present in rejecting a discourse of decency and embracing a queerer, more radical sense of citizenship. In other words, conceptualizing these performances as critical temporalities allows us not only to understand two particular theatrical performances of gay male identity and AIDS in Copenhagen in the late 1980s, but also to theorize more deeply embedded tensions between queer identities, temporality, and citizenship. Furthermore, by reading these performances and other performances like them as critical temporalities we reject the willful blindness of traditional theatre histories and make a more radical theatre history possible. Keywords: BIOGRAPHY Ken Nielsen is a Postdoctoral lecturer in the Princeton Writing Program, Princeton University, where he is currently teaching classes ranging from contemporary confession culture to tragedy. He holds a PhD in the- atre studies from The Graduate Center, City University of New York, with an emphasis on Gay and Lesbian Studies from the Center for Lesbian and Gay Studies (CLAGS). In addition, he holds an MA in Theatre Research from the University of Copenhagen. Published works include Tony Kushner’s Angels in America, a continuum modern theatre guide, multiple articles, and book reviews. Currently, he is at work on a book project on, what he terms, “geographies of desire.” 58 Nordic Theatre Studies vol. 25 1 Gone With the Plague: Negotiating Sexual Citizenship in Crisis KEN NIELSEN “A historical materialist cannot do without ship offered by these men is worth revisiting. This, the notion of a present which is not a tran- I believe, is the temporal moment that offers us a sition, but in which time stands still and has “unique experience with the past” to quote Benja- come to a stop. For this notion defines the min. In other words, I suggest that we, as theatre present in which he himself is writing his- historians, can use two long-gone amateur perfor- tory. Historicism gives the ‘eternal’ image mances, Det Scener Endianer and Intet Nyt Fra Pest- of the past; historical materialism supplies fronten,2 to illuminate the nexus of crisis, citizen- a unique experience with the past. The his- ship, and theatre. Furthermore, I propose that, in torical materialist leaves it to others to be this case, ideas of radical citizenship are tied to sexu- drained by the whore called “Once upon a ality and performance and that the group’s rejection time” in historicism’s bordello. He remains of decency as a viable option for gay liberation in in control of his powers, man enough to the middle of the Danish AIDS crisis allows us to blast open the continuum of history.” understand how citizenship, even in its negation, is theatrically produced. Benjamin’s thesis no. XVI in “Theses on the Philosophy of History”1 CRITICAL TEMPORALITIES The situation of this article on two performances Og syns de AIDS er for rå, så si’r hun ta’ å by a long-gone subcultural Danish theatre group is forstå, queer. Besides the ever-valuable project of historical Det nytter ikke å glemme å tro den vil gå reclamation of previously invisible histories, what relevance can these performances of sexual citizen- Pas på når de står til søs med et lokkende ship during a time of crisis possibly have? I suggest kys, that in a time in which the connection between ho- Her er mangen en skude gået under, mosexuality and national citizenship (consider Rus- Men uden lir bli’r man skør, når nu drifterne sia and its recent anti-homosexuality laws, the USA klør, and the seemingly never-ending debate regarding Selvom paven han siger det er sunder’. gay marriage as a threat to the nation, and Den- mark and debates surrounding alternative families) Til hver en hellig profet, der si’r han ve’ hva’ is increasingly tied to recurring discourses of decen- der’r sket, cy, the radical resistance to a normative definition of Der sir’ hun skråt op og tror kun på det hun citizenry and insistence on a radical sexual citizen- har set3 Nordic Theatre Studies vol. 25 Nordic Theatre Studies vol. 25 59 The second AIDS performance by Buddha og Freeman’s work, in making the historical possible, Bagbordsindianerne, a gay theatre group in the sub- it is necessary to pay attention “to gaps and losses cultural landscape of Copenhagen, opened in the that are both structural and visceral: the all-too-real small theatre Bøssehuset on a Saturday evening in limits presented by the stigmatization of AIDS, by November 1987. If the group’s previous production violence against lesbians and gays, by the unbeara- had been shocking, this production was even darker ble heaviness of the gender binary”.8 In doing so, we – as were the times. While the number of people who may just be able to outline a queerer sense of his- had died of AIDS-related illnesses by late 1987 was tory. In revisiting these performances, then, from a not clear, the public discourse surrounding gay men different place in time and geography – situated in a and AIDS was getting more suspicious and vicious.4 similar debate climate marked by fear and discrimi- Simultaneously, the gay subculture – and maybe in nation, but from a different temporal and geograph- particular the members of Bøssernes Befrielsesfront ical position – I suggest that we may better under- (the Gay Liberation Front) for whom being sexually stand not only the vagaries of temporality itself, but promiscuous was a natural part of a political liber- also the queer relationship between citizenship and ation – saw its numbers decimated. Interviewed by theatrical practices during a time of crisis. Eva Bøggild, Wanda Liszt says: “It was in 1982 that I suggest that we look at these two performances the first vague information arrived. First as a joke: as simultaneously in and out of time: they are his- there is a new disease that only affects homosexuals, torical in that they disappeared as all performance later as a rumour one knew had a grain of truth, but does, yet contemporary in the way in which their nobody knew what to do about it. AIDS appeared negotiations of radical sexuality as part of an inclu- at a point in time when we had won, so to speak. sive identity remains queerly dangerous. In mean- Now was the time to have fun. We had removed ingful ways, of course, one could argue that they many of the oppressive mechanisms. Gay men were cannot be understood outside the context of their visible in the world, and it was our explicit goal to immediate productions as reactions to the AIDS make being gay visible. Now we were to enjoy the crisis in Denmark and its consequences in terms fruits of our labour. And then this disgusting disease of emotions such as loss, fear, and rage. However, is thrown in your face. Headlines in Ekstra Bladet [a I propose that they can also be understood as being Danish tabloid]: gay cancer. Stuff like that”.5 out of time, that their amateurish nature and their Speaking in hindsight here, removed from the emotional immediacy as a reaction to a body politic critical days of the immediate reactions to AIDS, in crisis – literally and metaphorically – allow us to one notices the melancholy and sense of loss in view them as queer, theatrical ghostings of ongo- Liszt’s formulation of a hard-earned victory turned ing debates concerning the potential of queer cit- into something else. Recent queer scholarship has izenship. The question then remains, how exactly become increasingly interested in the question of the theatrical nature of these representations helps temporality – the connection between time and his- us understand larger issues pertaining to the crux tory. Elizabeth Freeman, for example, in her work of the relationship between theatre and democracy Time Binds suggests that “the dialectic between time past and present? How can we understand the in- and history has been characteristic of not only Eu- and-out-of-time importance of the subcultural uti- ro-American modernity but also of queer theory, lization of theatre to negotiate a gay male identity or at least one particular caricature of queer theo- in crisis? ry”.6 This caricature, then, Freeman contends “has A possible answer to this question can be found not always attended to the vagaries of temporality, in American theatre scholar David Román’s work. as practiced and as embodied, that make new con- In Performance in America: Contemporary U.S. ceptions of the historical possible”.7 Wanting to pay Culture and the Performing Arts, Román asks the attention to such ‘vagaries,’ Freeman encourages us question, “What might be gained by placing per- to strive to make histories possible, or, maybe rather, formance at the center of current national inquiries to imagine history differently. If we are to follow and debates?”9 For Román, the performing arts play 60 Nordic Theatre Studies vol. 25 Nordic Theatre Studies vol. 25 a vital role in negotiating cultural anxieties, in par- THE HISTORICAL FRONT ticular “around ideologies of race, citizenship,
Load more

Recommended publications
  • Rules EN 2015 TTR2 Rules Nordic EN 18/05/15 15:51 Page2
    [T2RNordic] rules EN 2015_TTR2 rules Nordic EN 18/05/15 15:51 Page2 icket to Ride Nordic Countries takes you on a Nordic adventure through Denmark, Finland, Norway and Sweden as you travel to the great northern cities T of Copenhagen, Oslo, Helsinki and Stockholm. Visit Norway's beautiful fjords and the magnificent mountain scenery on the Rauma Railway. Breathe in the salt air of the busy Swedish ports on the Baltic Sea. Ride through the Danish countryside where Vikings once walked. Hop-on the Finnish railway and travel across the Arctic Circle to the land of the Midnight Sun. CREDITS Game design by Alan R. Moon Illustrations by Julien Delval Graphic Design by Cyrille Daujean 2-3 8+ 30-60’ [T2RNordic] rules EN 2015_TTR2 rules Nordic EN 18/05/15 15:52 Page3 Components 1 Globetrotter Bonus card u 1 Board map of Scandinavian train routes for the most completed tickets u 120 Colored Train cars (40 each in 3 different colors, plus a few spare) 46 Destination u 157 Illustrated cards: Ticket cards 110 Train cards : 12 of each color, plus 14 Locomotives ∫ ∂ u 3 Wooden Scoring Markers (1 for each player matching the train colors) u 1 Rules booklet Setting up the Game Place the board map in the center of the table. Each player takes a set of 40 Colored Train Cars along with its matching Scoring Marker. Each player places his Scoring Marker on the starting π location next to the 100 number ∂ on the Scoring Track running along the map's border. Throughout the game, each time a player scores points, he will advance his marker accordingly.
    [Show full text]
  • Performing History Studies in Theatre History & Culture Edited by Thomas Postlewait Performing HISTORY
    Performing history studies in theatre history & culture Edited by Thomas Postlewait Performing HISTORY theatrical representations of the past in contemporary theatre Freddie Rokem University of Iowa Press Iowa City University of Iowa Press, Library of Congress Iowa City 52242 Cataloging-in-Publication Data Copyright © 2000 by the Rokem, Freddie, 1945– University of Iowa Press Performing history: theatrical All rights reserved representations of the past in Printed in the contemporary theatre / by Freddie United States of America Rokem. Design by Richard Hendel p. cm.—(Studies in theatre http://www.uiowa.edu/~uipress history and culture) No part of this book may be repro- Includes bibliographical references duced or used in any form or by any and index. means, without permission in writing isbn 0-87745-737-5 (cloth) from the publisher. All reasonable steps 1. Historical drama—20th have been taken to contact copyright century—History and criticism. holders of material used in this book. 2. Holocaust, Jewish (1939–1945), The publisher would be pleased to make in literature. 3. France—His- suitable arrangements with any whom tory—Revolution, 1789–1799— it has not been possible to reach. Literature and the revolution. I. Title. II. Series. The publication of this book was generously supported by the pn1879.h65r65 2000 University of Iowa Foundation. 809.2Ј9358—dc21 00-039248 Printed on acid-free paper 00 01 02 03 04 c 54321 for naama & ariel, and in memory of amitai contents Preface, ix Introduction, 1 1 Refractions of the Shoah on Israeli Stages:
    [Show full text]
  • NEW Media Document.Indd
    MEDIA RELEASE WICKED is coming to Australia. The hottest musical in the world will open in Melbourne’s Regent Theatre in July 2008. With combined box office sales of $US 1/2 billion, WICKED is already one of the most successful shows in theatre history. WICKED opened on Broadway in October 2003. Since then over two and a half million people have seen WICKED in New York and just over another two million have seen the North American touring production. The smash-hit musical with music and lyrics by Stephen Schwartz (Godspell, Pippin, Academy Award-winner for Pocahontas and The Prince of Egypt) and book by Winnie Holzman (My So Called Life, Once And Again and thirtysomething) is based on the best-selling novel by Gregory Maguire. WICKED is produced by Marc Platt, Universal Pictures, The Araca Group, Jon B. Platt and David Stone. ‘We’re delighted that Melbourne is now set to follow WICKED productions in New York, Chicago, Los Angeles, the North American tour and London’s West End,’ Marc Platt and David Stone said in a joint statement from New York. ‘Melbourne will join new productions springing up around the world over the next 16 months, and we’re absolutely sure that Aussies – and international visitors to Melbourne – will be just as enchanted by WICKED as the audiences are in America and England.’ WICKED will premiere in Tokyo in June; Stuttgart in November; Melbourne in July 2008; and Amsterdam in 2008. Winner of 15 major awards including the Grammy Award and three Tony Awards, WICKED is the untold story of the witches of Oz.
    [Show full text]
  • Your Itinerary
    Highlights of Scandinavia Your itinerary Start Location Visited Location Plane End Location Cruise Train Over night Ferry Day 1 it destroyed by the Gestapo. Arrive Copenhagen (2 Nights) Included Meals - Breakfast You're in for a whole lot of hygge when you hit the colourful, character­filled streets of Day 7 Copenhagen, which kick­starts your journey across Scandinavia. This cool capital manages to mix fairy tale with function as you'll come to discover. Spend your day Bergen – Sognefjord (Hafslo) (1 Night) soaking up the sunshine in 17th­century Nyhavn or rubbing shoulders with the fun­ Norway's fjord country takes centre stage today as you head to the 'King of the loving locals in Tivoli Gardens, Europe's second oldest amusement park. You'll meet Fjords', Sognefjord. Your scenic drive will pass Tvindefossen waterfall before arriving your Travel Director and fellow travellers for dinner later at your hotel. at the world's longest and deepest fjord. For nature lovers, there's an Optional Experience to board a cruise on the UNESCO­listed Nærøy Fjord whose stunning Comwell Portside Hotel - landscape has inspired painters for centuries. Later, you'll have a rare opportunity as part of an Optional Experience to meet a local Included Meals - Dinner family on their working farm against the backdrop of the fjord, sampling their Day 2 traditions that date back to Viking times. Tonight, join your travel companions for Copenhagen sightseeing and free time dinner at your hotel. Discover why Copenhagen earns its status as one of the world's most liveable cities Hotel - Eikum ­ a place where work and play are perfectly balanced.
    [Show full text]
  • The Danish People's High School
    DEPARTMENT OF THE INTERIOR BUREAU OF EDUCATION 131XLETIN, /1915, No.45 THE DANISH PEOPLE'S HIGH SCHOOL INCLUDING A GENERAL ACCOUNT OF THE EDUCATIONAL SYSTEM OF DENMARK . By MARTIN HEG D PRESIDENT WALDORF COLLEGE. FOREST CITY. IOWA WASHINGTON GOVERNMENT PRINTING OFFICE 1915 4 ,0 ADDITIONAL COPIES 07 THIS PGRLICATIA MAY Bb( RCURROaaoit TAIL SUPISSINAMDENTorDOCUMINTS 00VYRNMSNT PRINTING OPPICIL.,-' WASHINGTON, D. C. AT 20 CENTS COPX CONTENTS. Pass. Letter transmittal Prefat -v note 6 PART I. THE EDUCATIONAL SYSTEM OF DENMARK. Chapter I.Historical development 7 ILOrganization and administration of education 19 II 1. Elementary education 29 IV.Secondary education _ 53 V. University and vocational education 64 PART II. THE DANISH PEOPLE'S HIGH SCHOCIL. VI.Origin of the people's high schools 78 VII. growth of the people's high school 84 schools and their life 99 IX.Alms, curricula, and methods 113 X.Influence and results 129 XI. People's high schools in other countries 142 XII.--Conclusion 154 )tppendix A.Statistical tables 167 B.Bibliography 172 Irma 181 8 LETTER OF TRANSMITTAL DEPARTMENT OF TIIE INTERIOR, BUREAU OF EDUCATION, Washington, September E3, 1915: SIR: The folk high schools of Denmark and other Scandinavian countries are so unique and contain so much of interest to all who are concerned in the preparation,of young men and wothein for higher and better living and for more efficient citizenship that, although two or three' former bulletins of this bureau have been devoted to-a 'description of these schi)ols and their work, I recommend that the manuscript transmitted herewith be published as a bulletin of the Bureau of Education for the purpose of giving a still more com- Jorehensive account of the subject.Those who read this and the 114former bulletins referred to vij11 have a fairly complete account, not only of these.schools, but also of the whole system of rural education of which these sehooli tre an important wt.
    [Show full text]
  • Announcement of Awards 5Th Annual Washington Area Theatre Community Honors
    Announcement of Awards 5th Annual Washington Area Theatre Community Honors THE WATCH AWARDS Nominations Announced January 16, 2005 – 6:30 pm at The Birchmere, Alexandria, VA Award Ceremony held Sunday, March 6, 2005 – 7:00 pm at The Birchmere, Alexandria, VA Final Attendance: 495 Award Ceremony Tickets $12.50 at the Birchmere Box Office or through Ticketmaster (plus service charge) 90 productions (25 musicals, 65 plays) were adjudicated in 2004. Twenty-four community theater companies participated in WATCH adjudication. – Aldersgate Church Community – Port City Playhouse Theatre – Port Tobacco Players – American Music Stage – Prince William Little Theatre – The Arlington Players – Providence Players – Castaways Repertory Theatre – Reston Community Players – Chevy Chase Players – Rockville Little Theatre – Dominion Stage – Rockville Musical Theatre – Elden Street Players – St. Mark’s Players – Fauquier Community Theatre – Silver Spring Stage – Hard Bargain Players – Tantallon Community Players – Kensington Arts Theatre – Tapestry Theatre Company – Little Theatre of Alexandria – Vienna Theatre Company – Montgomery Playhouse (Inactive: Springfield Community Theatre) And now for the Nominations and Awards… In each of the twenty-eight categories, five nominees were selected based on the average scores of at least eight judges. In some categories, due to score ties, more than five nominees are announced. Award recipients are listed first in bold with other nominations provided in alphabetical order by nominee. The nominations are provided by category and by theater at the end of the document. Nominations for outstanding technical achievements. Outstanding Set Design (5) • Tina Thronson & John Coscia, The Man Who Came To Dinner, Providence Players • David Bayles & Joe Stine, A Christmas Story, Port Tobacco Players • John Downing, Sleuth, Little Theatre of Alexandria • Andrew S.
    [Show full text]
  • Announcing a VIEW from the BRIDGE
    FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in
    [Show full text]
  • Table of Contents
    GEVA THEATRE CENTER PRODUCTION HISTORY TH 2012-2013 SEASON – 40 ANNIVERSARY SEASON Mainstage: You Can't Take it With You (Moss Hart and George S. Kaufman) Freud's Last Session (Mark St. Germain) A Christmas Carol (Charles Dickens; Adapted/Directed by Mark Cuddy/Music/Lyrics by Gregg Coffin) Next to Normal (Music by Tom Kitt, Book/Lyrics by Brian Yorkey) The Book Club Play (Karen Zacarias) The Whipping Man (Matthew Lopez) A Midsummer Night's Dream (William Shakespeare) Nextstage: 44 Plays For 44 Presidents (The Neofuturists) Sister’s Christmas Catechism (Entertainment Events) The Agony And The Ecstasy Of Steve Jobs (Mike Daisey) No Child (Nilaja Sun) BOB (Peter Sinn Nachtrieb, an Aurora Theatre Production) Venus in Fur (David Ives, a Southern Repertory Theatre Production) Readings and Festivals: The Hornets’ Nest Festival of New Theatre Plays in Progress Regional Writers Showcase Young Writers Showcase 2011-2012 SEASON Mainstage: On Golden Pond (Ernest Thompson) Dracula (Steven Dietz; Adapted from the novel by Bram Stoker) A Christmas Carol (Charles Dickens; Adapted/Directed by Mark Cuddy/Music/Lyrics by Gregg Coffin) Perfect Wedding (Robin Hawdon) A Raisin in the Sun (Lorraine Hansberry) Superior Donuts (Tracy Letts) Company (Book by George Furth, Music, & Lyrics by Stephen Sondheim) Nextstage: Late Night Catechism (Entertainment Events) I Got Sick Then I Got Better (Written and performed by Jenny Allen) Angels in America, Part One: Millennium Approaches (Tony Kushner, Method Machine, Producer) Voices of the Spirits in my Soul (Written and performed by Nora Cole) Two Jews Walk into a War… (Seth Rozin) Readings and Festivals: The Hornets’ Nest Festival of New Theatre Plays in Progress Regional Writers Showcase Young Writers Showcase 2010-2011 SEASON Mainstage: Amadeus (Peter Schaffer) Carry it On (Phillip Himberg & M.
    [Show full text]
  • Somalis in Oslo
    Somalis-cover-final-OSLO_Layout 1 2013.12.04. 12:40 Page 1 AT HOME IN EUROPE SOMALIS SOMALIS IN Minority communities – whether Muslim, migrant or Roma – continue to come under OSLO intense scrutiny in Europe today. This complex situation presents Europe with one its greatest challenges: how to ensure equal rights in an environment of rapidly expanding diversity. IN OSLO At Home in Europe, part of the Open Society Initiative for Europe, Open Society Foundations, is a research and advocacy initiative which works to advance equality and social justice for minority and marginalised groups excluded from the mainstream of civil, political, economic, and, cultural life in Western Europe. Somalis in European Cities Muslims in EU Cities was the project’s first comparative research series which examined the position of Muslims in 11 cities in the European Union. Somalis in European cities follows from the findings emerging from the Muslims in EU Cities reports and offers the experiences and challenges faced by Somalis across seven cities in Europe. The research aims to capture the everyday, lived experiences as well as the type and degree of engagement policymakers have initiated with their Somali and minority constituents. somalis-oslo_incover-publish-2013-1209_publish.qxd 2013.12.09. 14:45 Page 1 Somalis in Oslo At Home in Europe somalis-oslo_incover-publish-2013-1209_publish.qxd 2013.12.09. 14:45 Page 2 ©2013 Open Society Foundations This publication is available as a pdf on the Open Society Foundations website under a Creative Commons license that allows copying and distributing the publication, only in its entirety, as long as it is attributed to the Open Society Foundations and used for noncommercial educational or public policy purposes.
    [Show full text]
  • Reinventing the Airport Ecosystem a New Airline Industry Report Contents
    Reinventing the Airport Ecosystem A new airline industry report Contents Executive Summary 4 Research Methodology 6 1. Macro Trends and Impacting Factors 7 2.4 Identifying passengers in the airport 1.1 Political factors 8 environment 26 > Open skies 8 2.5 Communicating with passengers 26 > State capitalism 8 2.6 Additional developments to enhance the 1.2 Economic factors 9 airport experience 27 > Economic outlook 9 > Create a ‘sense of place’ 27 > Global growth 9 > Personalisation 27 > Wealth distribution 9 > Sustainability 28 > Centre of power 9 > Non-aeronautical revenue generation 28 > Economic globalisation 9 > Airline profitability 10 3. Industry Drivers Shaping Ecosystem 1.3 Social factors 11 Architecture & Strategies 35 > Global population 11 3.1 The importance of non-aeronautical revenues 35 > Passenger numbers 11 > Airports 35 > Ageing population 12 > Airlines 36 > Global middle class 12 > Airlines/airports revenue sharing 37 1.4 Technological & Scientific factors 13 3.2 New approaches to finance investment 38 > Evolution of personal mobile ecosystems 13 > Turning owned assets into rented services 38 > Delivery of information & communication > Auctions 38 to the mobile device 13 > Crowd sourced financing 38 > Use of social media 13 3.3 Enhancing the passenger experience 38 > Connecting communities 14 > On the security front 38 > Passenger attitudes to technology 15 > On the sustainability front 38 > How airports will adapt and accommodate 3.4 New approaches to operations 39 the future 15 > Collaborative decision making 39 > Technology infrastructure 17 > New terminal design 39 1.5 Environmental factors 18 > Fuel price volatility 18 4. Mapping Strategic Direction for the > Environmental sustainability 18 Next 20 Years 40 1.6 Legislative factors 19 4.1 Adopting a long term perspective? 40 > Global regulation 19 4.2 Defining the ecosystem architecture 40 > Airline alliances 19 > Conceptual model 41 > Infrastructure model 42 2.
    [Show full text]
  • War Horse Bill Maher Tennessee Performing Arts Center » TPAC
    COMING SOON: The official playbill and performing arts magazine of the War Horse Bill Maher Tennessee Performing Arts Center » TPAC. o r g June 3-8, 2014 July 13, 2014 HCA/TriStar Health Broadway at TPAC • TPAC Presents CENTER STAgE About the SHOW: beginning on page 17 Exciting news from TPAC Education pages 13-16 Coming SOON to TPAC page 33 Grand Avenue takes me everywhere. — DON MACLACHLAN Tennessee Titans, Executive Vice President One Contact. 450 Cities Worldwide. Download OUR APP Call us today at 615.714.5466 or toll-free at 866.455.2823 to book on the go! or visit G RANDA VENUEW ORLDWIDE.COM GAT 127.13 | NA&E 7/13 GAT •3rdGAT127.13-NashvilleArtsAd_7.125x10.875_FINAL.indd Prnt 2013-2014 TPAC.indd 2 1 3/12/147/2/13 9:429:24 AM EVOLVED ESSENTIAL EPIC APPLE • ATHLETA • BURBERRY • THE CHEESECAKE FACTORY DAVID YURMAN • FREE PEOPLE • GUS MAYER • JIMMY CHOO KATE SPADE NEW YORK • LOUIS VUITTON • MAC COSMETICS MICHAEL KORS • OMEGA • RESTORATION HARDWARE • SEPHORA STUART WEITZMAN • TIFFANY & CO. • TORY BURCH NORDSTROM • DILLARD’S • MACY’S OVER 100 SPECIALTY SHOPS & RESTAURANTS HILLSBORO PIKE, I-440 EXIT 3 • NASHVILLE, TN • SHOPGREENHILLS.COM •3rd Prnt 2013-2014 TPAC.indd 1 3/12/14 9:24 AM GH170.PlaybillFullPage.indd 1 6/12/13 12:42 PM Just for the record, we’re proud to call Nashville home. You’ll fi nd more than 2,300 Bridgestone teammates hard at work and play in Nashville’s communities. Being involved is an important part of our business. It’s our passion.
    [Show full text]