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| == '''[[Battleship]]''' ==
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| [[Image:USS Massachusetts BB-59 Fall RIver.jpg|thumb|right|180px|{{USS Massachusetts BB-59 Fall RIver.jpg/credit}}<br />The [[USS Massachusetts (BB-59)|USS ''Massachusetts'' (BB-59)]] or "Big Mamie," on display as a museum ship in Battleship Cove, [[Fall River, Massachusetts]].]]
| | ==Footnotes== |
| The '''battleship''', though now essentially obsolete as a naval weapon, is a naval vessel intended to engage the most powerful warships of an opposing navy. Evolved from the [[ship of the line]], their main armament consisted of multiple heavy [[cannon]] mounted in movable [[turret]]s. The ships boasted extensive armor and as such were designed to survive severe punishment inflicted upon them by other capital ships.
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| The word "battleship" was coined around 1794 and is a contraction of the phrase "line-of-battle ship," the dominant wooden warship during the [[Age of Sail]].<ref name="OED">"battleship" The Oxford English Dictionary. 2nd ed. 1989. OED Online. Oxford University Press. 4 April 2000.</ref> The term came into formal use in the late 1880s to describe a specific type of [[ironclad warship]] (now referred to by historians as pre-''Dreadnought'' battleships).<ref name="Stoll">Stoll, J. ''Steaming in the Dark?'', Journal of Conflict Resolution Vol. 36 No. 2, June 1992.</ref> In 1906, the commissioning of [[HMS Dreadnought (1905)|HMS ''Dreadnought'']] heralded a revolution in capital ship design. Subsequent battleship designs were therefore referred to as "dreadnoughts." A general criterion from thereon in was that the armor of a true battleship must be sufficiently thick to withstand a hit by its own most powerful gun, within certain constraints. [[#The Diversion of the Battlecruiser|Battlecruiser]]s, while having near-battleship-sized guns, did not meet this standard of protection, and instead were intended to be fast enough to outrun the more heavily armed and armored battleship.<ref name=Massie>{{citation
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| | author = Robert K. Massie
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| | title = Dreadnought: Britain, Germany and the Coming of the Great War
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| | publisher = Ballantine
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| | year = 1992
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| | isbn = 9780345375568}}</ref>
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| From 1905 to the early 1940s, battleships defined the strength of a first-class navy. The idea of a strong "fleet in being", backed by a major industrial infrastructure, was key to the thinking of the naval strategist per [[Alfred Thayer Mahan]], writing in his 1890 book, ''The Influence of Sea Power upon History, 1660-1763'' (1890). The essence of Mahan from a naval viewpoint is that a great navy is a mark and prerequisite of national greatness. In a 1912 letter to the ''New York Times'', he counseled against relying on international relations for peace, and pointed out that other major nations were all building battleships.<ref>{{citation
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| | title =HOPELESSLY OUTFORCED."; Admiral Mahan Prophesies Plight of Nation Without More Battleships.
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| | author = [[Alfred Thayer Mahan]]
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| | date = 14 April 1912
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| | journal = New York Times
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| | url = http://query.nytimes.com/mem/archive-free/pdf?_r=1&res=9503E5DF103AE633A25757C1A9629C946396D6CF}}</ref>
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| Asymmetrical threats to battleships began, in the early 20th century, with [[torpedo]]es from [[fast attack craft]] and [[mine (naval)|mines]]. These [[#The underwater threat|underwater threats]] could strike in more vulnerable spots than could heavy guns. [[#Aircraft versus battleship|Aircraft]], however, became an even more decisive threat by World War II.
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| ''[[Battleship|.... (read more)]]''
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| ! style="text-align: center;" | [[Battleship#References|notes]]
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| {{reflist|2}} | | {{reflist|2}} |
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Theater in the round refers to theatrical performance space in which the audience sits on most or all sides of the stage (as opposed to the customary proscenium stage in which the performers face the audience, or the thrust stage where the audience sits on three sides).
Theaters in the round were common in ancient times, and although it never fell completely into disuse, the modern theater as it developed in Europe and America, generally favoured the proscenium theatre, which allows for grander productions. When the theater in the round format was revived in the mid-twentieth century, it was considered avant garde and progressive.
One advantage of theatres in the round is that they can dramatically reduce the need for lavish or complicated sets, in terms of curtains and scenery. A disadvantage is the extra staging considerations. Rather than the actors being able to focus to one direction, the director and set designer have to consider what the production will look like from different points of view, and how to eliminate or at least reduce the problem of characters having their backs to the audience.
The Stephen Joseph Theatre[1] in Scarborough, North Yorkshire was the UK's first theatre in the round.[2]
Alienation effect vs. Stanislovski technique
Theater in the round is a particularly appropriate setting for staging of dramas using Bertolt Brecht's alienation effect[3], which stands in opposition to the more traditional Stanislovski technique
[4] in drama. Whereas the Constantin Stanislavski school of acting attempts to immerse the audience so deeply in belief of its characters that they can imagine themselves as the character, the Brechtian alienation effect deliverately tries to remind the audience that this is a fictional representation. Alienation techniques include tactics as obvious as displaying placards or posters around the set. With theater in the round, merely keeping the audience lit so that each audience member is constantly aware of the rest of the audience can act as an alienation technique.
Notes
- ↑ Wikipedia has more information about the Stephen Joseph Theatre.
- ↑
New Vic Theatre: 'Theatre-in-the-Round'. Accessed January 24, 2021.
- ↑
Alienation Effect in Encyclopedia Britannica online.
- ↑
The book "An Actor Prepares" was first published in 1936 and is the first volume of the translations of Constantin Stanislavski's books on acting, which were published as a trilogy in English, though originally meant to be published as two books in Russian.
