Properties of Gases Essay Example for Free

Properties of Gases EssayThe purpose of this lab was to canvass and discover the physical and chemical properties of some brages. Throughout this lab the ability to identify if and when gasses were present was enhanced.During the world-class step of this lab, when obtaining the heat content from the stick-in-the-mud(p) surface and the hydrochloric acid, it took a lot longer than I thought it would for the piddle in the pipet to be incited. I was tempted to remove the stopper and add another piece of zinc and see if that would make it go faster, but I did not want to interrupt the process. It seemed the longer that the mossy zinc was clear to the hydrochloric acid the faster it dissolved and therefore more gas was produced. When the manganese and the hydrogen peroxide were open to each other there was much more fizzing produced than that of the zinc and the hydrochloric acid. I was surprised (although I dont know why) that the lime water turned cloudy when exposed to br eath. It is quite simple when you think close to it that when you exhale you release carbon dioxide which as shown in the to a higher place data turns the lime water cloudy.Conclusion/Discussion During the course of this lab I learned a lot about the contemporaries of gases. I was somewhat conf subroutined in the beginning about how to use some of the equipment for this lab. As the lab went on I figured it out and became much more favourable with it. I thought some of the experiments were very informative and interesting. I especially liked the portions about responses with a lit match or the glowing splint as it showed on a small ordered series if the gas produced was flammable or not.Questions A. Give two reasons why we fill the gas generator see tubes almost to the top with chemicals.1. The first reason we fill the test tubes almost to the top with chemicals is so that the reaction between the two substances is high enough to the top to go through the rubber stopper and di splace the water in the pipet and trap the gas.2. The second reason is so that observations can be make easily about the reactions. If it was not almost completely filled we may deem had to try to split up the test tube or remove the tissue paper to make observations and this may have altered the results.B. What happens to the zinc in the hydrogen generation experiment?The zinc begins to slowly dissolve when exposed to the hydrochloric acid. The longer the zinc was submerged in the hydrochloric acid the faster it seemed to dissolve.C. What happens to the manganese in the oxygen generation experiment?The manganese produced large amounts of fizzing when exposed to the hydrogen peroxide. It was difficult to tell whether the manganese was truly dissolving or just fizzing.D. Write a balanced equation for the reaction between O2 and H2.2H2 + O2 2H2OE. What is the suffice/purpose of the bromothymol blue in the CO2 experiment?The purpose of the bromothymol blue was to show the reaction of the chemicals and the gas that was formed. Since the bromothymol blue changed from blue to yellow, that signified that the gas formed was acidic.F. Bromothymol blue is blue in the presence of staple fibre solutions, and yellow in the presence of acidic solutions. If your solution is a sloppy green, what might you assume about the solution?I would assume one of two things. There may have possibly been a contamination of the substance. The other possibility might be that the pH of the solution is neutral. If the bromothymol blue turns a murky green color this may indicate that the substance is neither basic or acidic.

Video-based training programs Essay Example for Free

Video-based preparation programs EssayVideo-based training programs are creation implemented at an ever-increasing rate across the country. While this type of training should certainly not be the only method that is used to train your employees, it is very effective and bottom of the inning offer significant advantages over other training methods.ADVANTAGESThere are many advantages to video-based training. However, only the most significant ones are discussed here. yet Development Time. You can shorten your training cycle because you will have the ability to deliver just-in-time training where and when you need it. Facilitation materials with activities and discussion points can be used in whole or in decompose to create training events that run anywhere from one to four hours.Add Variety to the Delivery Mix. Workshops and lectures can become routine and boring. Video provides a change of pace and can add an entertainment factor in that is not possible in a live presentati on. Videos can also be used to tag on a face-to-face workshop to stimulate discussion, demonstrate concepts that could not otherwise be presented, and provide significant examples of the topic at hand. The more the senses are engaged in the content, the more the participants will learn.Build a Resource Library. Building a video and/or DVD library allows you to offer a broader flap of training. You will no longer be limited to custom in-house development or scheduled classroom events. Trainees can check out a DVD or access video training online. passVideo-based training materials save your organization time and money, and they make your business look progressive. Because they help build nurture retention, they can also improve the return on your training investment. The next step should be a formal review of your training needs and an evaluation report to be completed by a professional video-based training firm with a proven track record.

Booker Jones Analysis Essay Example for Free

Booker Jones Analysis taste1.A. If the cost of set were to be incorporated into the stock-taking account (balance sheet), therefore the cost of barrels utilise (Income line) can be reduced. From 1960-1961, Booker Jones increased its barrels produced from 43,000 barrels to 63,000 barrels. That is 20,000 barrel increased in equitable one year. The cost per barrels is $31.50. (20,000 * 31.50= $630,000)We can reduce the cost per barrel expense from income statement of $630,000. (-407,000+630,000= 223,000) Therefore, pretax addition would have been $223,000 instead of net loss of $407,000.B. If the change were made retroactively as of June 1, 1959 then arrange on the balance sheet at the end of 1960Number of barrel in inventory in 1960 is 172,000(172,000 barrels * . 50 = 5,418,000)$5,418,000 is the increased inventory after incorporated the cost of barrels to inventory. ($5418000 + $4,506,000 = $9,924,000)$9,924,000 is the new end inventory in 1960Deferring the Aging costs i nto the inventory balance would increase the Net bring in in 1960. This would then increase the Retained Earnings account on the balance sheetEffect on the balance sheet at the end of 1961Number of barrels in inventory in 1961 is 192,000(192,000 barrels * $31.50 = $6,048,000)$6,048,000 is the increased in inventory after incorporating the cost of barrels to inventory ($6,048,000 + $5,030,000 = $11,078,000)$11,078,000 is the new ending inventory in 1960Deferring the Aging costs into the inventory balance would increase the Net Profit in 1960. This would then increase the Retained Earnings account on the balance sheetEffect on the income statement for 19602. We do not believe that Jones went from a profit in 1960 to a loss for1961 because they can trespass the patented barrels as inventory instead of expense it. Because of the 4 years aging life, it makes sensation to capitalize the barrels and expense it as the aging process reduced.7.1. The original Levis Store conduct has a hig her return on invested capital, meaning it is a good investment in a long run.Column1WholesaleChannelEstimateOriginal LevisStore ChannelEstimateOperating Profit before Tax46Tax at 40%1.62.4NOPAT2.43.6Fixed Asset factory PPE55Distributed PPE12Total Fixed Asset67Non- money workings CapitalCurrent Asset812Current Liability11Cash00Total Non-Cash Working Capital711Invested Capital1318Return on Invested Capital18%20%2. Value Chain AnalysisProviding strategic counselor corporate strategyProvide the perfect fit jean for customersMarket segment for unsatisfied customers exsert market segment by offering customized jeansGenerating customer shoot sales, marketing and customer service cast up in profit24% unsatisfied customersProvide more styles, more colors, better fits4224 possible compounding of measurement400 prototype pairs stock at Kiosk for customers to try onFulfilling customer demand supply chain, manufacturing, production Order is transmitted directly to Levis factory. Each pa ir of jeans is individually love 3 days shipping back to customers (at $5 extra charge per pair) Pull based responsiveness to actual buying patterns, improve manufacturing, and delivery cycle Need to find ways to fix the 8 months lag between ordering cotton fabric and selling the final pair of jeans. Providing support go Finance, HR, legal and compliance Need additional finance to pay for trained personal clerksNeed to concur out loan to finance initial investment of the project In 4 retail inject locations

Swot Analysis and Weaknesses Essay Example for Free

Swot Analysis and Weaknesses strive dress up Analysis is an effective right smart of identifying your Strengths and Weaknesses, and of examining the Opportunities and Threats you face. How to practice session toolTo guide come forward a organise Analysis, write down answers to the sp are-time activity questions. Where appropriate, use similar questionsStrengths* What advantages do you see got?* What do you do well(p)?* What relevant choices do you founder access to?* What do opposite people see as your potences? tump over this from your own point of view and from the point of view of the people you deal with. Dont be modest. Be realistic. If you ar having any difficulty with this, try writing down a list of your characteristics. Some of these will hopefully be strengthsIn looking at your strengths, think about them in relation to your competitors for character, if entirely your competitors endure high quality products, then a high quality production process is not strength in the market, it is a necessity.Weaknesses* What could you improve?* What do you do badly?* What should you avoid?Again, consider this from an internal and external basis Do other people seem to perceive weaknesses that you do not see? argon your competitors doing any better than you? It is best to be realistic now, and face any unpleasant truths as soon as possible.Opportunities* Where are the bully opportunities facing you?* What are the interesting trends you are aware of?Useful opportunities chiffonier come from much(prenominal) things as* Changes in technology and markets on both a broad and limit scale* Changes in government policy re slowlyd to your field* Changes in social patterns, population profiles, modus vivendi compounds, etc.* Local EventsA useful approach to looking at opportunities is to look at your strengths and consume yourself whether these open up any opportunities. Alternatively, look at your weaknesses and ask yourself whether you could open up opportunities by eliminating them.Threats* What obstacles do you face?* What is your opposition doing?* Are the required specifications for your job, products or service changing?* Is changing technology big(p) your position?* Do you have bad debt or cash-flow problems?* Could any of your weaknesses seriously threaten your business? Carrying out this analysis will oft be illuminating both in terms of pointing out what necessarily to be d whiz, and in putting problems into perspective.You bathroom also apply b unrivalled analysis to your competitors. This may green goods some interesting insights ExampleA start-up small consultancy business expertness carry out the following SWOT analysisStrengths* We are able to respond very quickly as we have no red tape, no need for higher(prenominal) management approval, etc. * We are able to give in truth good customer care, as the current small amount of achievement means we have muckle of time to devote to customers * Our lead consultant has strong reputation within the market * We empennage convince direction quickly if we find that our marketing is not working * We have little overhead, so can offer good value to customersWeaknesses* Our company has no market figurehead or reputation* We have a small staff with a shallow skills base in some areas* We are insecure to vital staff being sick, leaving, etc.* Our cash flow will be unreliable in the early stagesOpportunities* Our business sector is expanding, with many future opportunities for success * Our local council wants to encourage local businesses with work where possible * Our competitors may be slow to adopt new technologiesThreats* Will developments in technology change this market beyond our ability to adapt? * A small change in focus of a large competitor might wipe out any market position we achieve The consultancy might therefore decide to specialize in rapid response, good value services to local businesses. market would be in sele cted local publications, to get the greatest possible market presence for a couch advertising budget. The consultancy should keep up-to-date with changes in technology where possible. Key pointsSWOT analysis is a cloth for analyzing your strengths and weaknesses, and the opportunities and threats you face. This will financial aid you to focus on your strengths, defame weaknesses, and take the greatest possible advantage of opportunities available. SWOT analysis becomes a USELESS exercise if it is not extended TOWS where * the strengths are used to capitalize on opportunities and to counter threats, * the weaknesses are minimized using opportunities and both weaknesses and threats are avioidedCarrying out a personal SWOT Analysis is an important step in finding life and career direction.Case Study-SWOT Analysis Wal-MartStrengths* Wal-Mart is a powerful retail brand. It has a reputation for value for money, convenience and a wide range of products all in one store. * Wal-Mart has grown substantially over re centime years, and has experienced orbicular expansion (for example its purchase of the joined Kingdom base retailer ASDA). * The company has a core competence involving its use of information technology to support its international logistics system. For example, it can see how individual products are performing country-wide, store-by-store at a glance. IT also supports Wal-Marts efficient procurement. * A focused schema is in place for human resource management and development. People are key to Wal-Marts business and it invests time and money in training people, and retaining a developing them.Weaknesses* Wal-Mart is the Worlds largest grocery retailer and control of its empire, despite its IT advantages, could leave it weak in some areas payable to the huge span of control. * Since Wal-Mart sell products across many sectors ( much(prenominal) as clothing, food, or stationary), it may not have the flexibility of some of its more than focused compet itors. * The company is global, notwithstanding has has a presence in comparatively few countries Worldwide.Opportunities* To take over, merge with, or form strategic alliances with other global retailers, focusing on specific markets such as Europe or the Greater China Region. * The stores are currently unless trade in a relatively small number of countries. Therefore there are howling(a) opportunities for future business in expanding consumer markets, such as China and India. * New locations and store types offer Wal-Mart opportunities to put to work market development. They diversified from large tops(p) centers, to local and mall-based sites. * Opportunities exist for Wal-Mart to continue with its current strategy of large, super centers.Threats* Being number one means that you are the target of competition, locally and globally. * Being a global retailer means that you are ex congeald to political problems in the countries that you operate in. * The cost of producing many consumer products tends to have fallen because of lower manufacturing costs. Manufacturing cost has fallen due to outsourcing to low-cost regions of the World. This has lead to determine competition, resulting in outlay deflation in some ranges. Intense price competition is a threat.Wal-Mart Stores, Inc. is the worlds largest retailer, with $256.3 billion in sales in the fiscal year ending Jan. 31, 2004. The company employs 1.6 billion associates worldwide through more than 3,600 facilities in the United States and more than 1,570 units . . .Case Study-SWOT Analysis StarbucksStrengths* Starbucks Corporation is a very profitable shaping, earning in excess of $600 million in 2004.The company generated revenue of more than $5000 million in the same year. * It is a global drinking choco modern brand built upon a reputation for fine products and services. It has almost 9000 cafes in almost 40 countries. * Starbucks was one of the Fortune Top 100 Companies to Work For in 2005. The co mpany is a respected employer that values its workforce. * The organization has strong ethical values and an ethical mission statement as follows, Starbucks is committed to a function of environmental leadership in all facets of our business.Weaknesses* Starbucks has a reputation for new product development and creativity. However, they live vulnerable to the possibility that their innovation may falter over time. * The organization has a strong presence in the United States of America with more than three quarters of their cafes located in the home market. It is often argued that they need to look for a portfolio of countries, in order to spread business risk. * The organization is dependant on a main competitive advantage, the retail of coffee. This could make them slow to diversify into other sectors should the need arise.Opportunities* Starbucks are very good at taking advantage of opportunities. * In 2004 the company created a CD-burning service in their Santa Monica (Califor nia USA) cafe with Hewlett Packard, where customers create their own music CD. * New products and services that can be retailed in their cafes, such as Fair Trade products. * The company has the opportunity to expand its global operations. New markets for coffee such as India and the Pacific Rim nations are beginning to emerge. * Co-branding with other manufacturers of food and drink, and brand franchising to manufacturers of other goods and services both have potential.Threats* Who knows if the market for coffee will grow and stay in favor with customers, or whether another type of beverage or leisure activity will replace coffee in the future? * Starbucks are exposed to rises in the cost of coffee and dairy products. * Since its conception in pine Place Park, Seattle in 1971, Starbucks success has lead to the market entry of many competitors and copy cat brands that pose potential threats.Starbucks mission statement is Establish Starbucks as the premier purveyor of the finest cof fee in the world bit maintaining our uncompromising principles while we grow.Understanding TOWS MatrixWhy use the tool?TOWS Analysis is an effective way of combining a) internal strengths with external opportunities and threats, and b) internal weaknesses with external opportunities and threats to develop a strategy.How to use toolTo carry out a TOWS Analysis, consider the following combinationsStrengths/OpportunitiesConsider all strengths one by one listed in the SWOT Analysis with each opportunity to determine how each internal strength can help you capitalize on each external opportunity.Strength/ThreatsConsider all strengths one by one listed in the SWOT Analysis with each threat to determine how each internal strength can help you avoid every external threat.Weaknesses/OpportunitiesConsider all weaknesses one by one listed in the SWOT Analysis with each opportunity to determine how each internal weakness can be eliminated by using each external opportunity.Weaknesses/ThreatsCo nsider all weaknesses one by one listed in the SWOT Analysis with each threat to determine both can be avoided.Case Study- occupation of the TOWS Matrix to VolkswagenVolkswagen (VW) was chosen because it demonstrates how a successful company experienced great difficulties in the early 1970s, but then developed a strategy that resulted in an excellent market position in the late 1970s. The TOWS Matrix shown in Figure 1 will focus on the crucial period from late 1973 to early 1975. The external threats and opportunities pertain mostly to the placement VW faced in the United States, but a similar situation prevailed in Europe at that time.Weaknesses and Threats (WT)A company with great weaknesses often has to restore to a survival strategy. VW could have seriously considered the option of a joint operation with Chrysler or American Motors. other alternative would have been to withdraw from the American market altogether. Although in difficulties VW did not have to go back to a sur vival strategy because the company still had much strength. Consequently, a more appropriate strategy was to attempt to overcome the weaknesses and develop them into strengths. In other words, the direction was toward the strength-opportunity position (SO) in the matrix shown as Figure 1. Specifically, the strategy was to reduce the competitive threat by developing a more conciliative new product line that would accommodate the needs and desires of the car-buying public.Weaknesses and Opportunities (WO)The growing affluence of customers has resulted in trading up to more luxurious cars. Yet, VW had essentially followed a one-model policy which presented a problem when the invention of the Beetle became ancient A new model line had to be introduced to reach a wider spectrum of buyers. In order to minimize the additional costs of a multi product line, the building block principle was employed in the design of the new cars. This allowed using the same parts for different models that ranged from the relatively low-priced Rabbit to the higher priced Audi line.another(prenominal) weakness at VW was the rising costs in Germany. For example, in 1973 wages and salaries rose 19 per cent over the previous year. Similarly, increased arouse costs made the shipping of cars to the United States more costly. This situation favored setting up an assembly plant in the United States. However, this also created some problems for VW because it had no experience in dealing with American organized labor. To overcome this weakness, VWs tactic was to recruit managers from Detroit who were capable of establishing good union relations.Strengths and Threats (ST)One of the greatest threats to VW was the continuing appreciation of the Deutsche Mark against the dollar. For example, from October 1972 to November 1973 the mark appreciated 35 percent. This meant higher prices for the buyer. The result, of course, was a less competitive posture. Japanese and American automakers obtained an increasingly larger share of the small-car market. To reduce the threats of competition and the effects of the unfavorable exchange rate, VW was forced to build an assembly plant in the United States.Another strategy for meeting competitive pressures was to build on VWs strengths by developing a car based on advanced-design technology. The result of this effort was the Rabbit, a model with features later adopted by many other car manufacturers. The oil crisis in 1973-1974 not only caused a fuel shortage, but also price rises, a trend that has continued. To meet this threat, VW used its technological capabilities not only to improve its engines (through the use of fuel injection, for examples), but also to develop the very fuel-efficient Diesel engine. This tactic, which was congruent with its general strategy, helped improve the firms market position.Strengths and Opportunities (SO)In general, successful firms build on their strengths to take advantage of opportunities. VW is no exc eption. Throughout this password VWs strengths in research, development, engineering, and its experience m production technology became evident. These strengths, under the leadership of Rudolf Leiding, enabled the company to develop a product line that met market demands for an economical car (the Rabbit, successor to the Beetle), as well as the tastes for more luxurious cars with many available options (Scirocco and the Audi line). Eventually the same companys strengths enabled VW to plan and build the assembly facility in New Stanton, Pennsylvania. Thus, YW could benefit from substantial concessions granted by the state government to attract VW which, in turn, provided many employment opportunities.In another tactical move, VW manufactured and sold small engines to Chrysler and American Motors. These companies urgently required small engines for installation in their own cars and revenues from these sales improved the financial position of VW.

Vaccine and Multiple Vaccines Safe Essay Example for Free

Vaccine and Multiple Vaccines Safe EssayVaccinations ar a big part of stacks lives. There ar immunization programs for children that very much come along inoculations starting them off early as steady, life-long customers. Years ago, when vaccines were first invented, they were made up of saline settlement and the dead virus. Now, thithers so much more in the vaccine that just approximately muckle dont know about. The way that vaccines atomic number 18 made is unethical, from the portions, to the way the ingredients ar collected. Many who unhorse vaccinated just take their doctors knowledge of medicine for granted and dont bother to research whats being injected into their body. Edward Jenner invented the vaccine in 1796. The original purpose for it was to protect people against variola major. He noticed that even during the peak of the variola major epidemic, the milkmaids never got the disease. After further research, he theorized that the lawsuit why the milkma ids didnt energize smallpox was be vitrine they came in contact with vaccinia while milking the cows. The cowpox fortify their immune system against smallpox. Jenner extracted the crystalline from the inside of a cowpox sore on a milkmaid named Sarah Nelmes. Next, Jenner found a farmer named Phipps and asked him if he could inject his son, James, with the liquid.He explained to Phipps that if his theory was correct, James would never dismay smallpox. Phipps agreed. Jenner made two small cuts in the arm of the boy and poured the liquid from Sarah into the cuts. James came down with cowpox which lasted 6 weeks. After those 6 weeks, Jenner vaccinated him with the dried up pus from the sore of a smallpox victim. James didnt catch smallpox. Jenners theory was correct, lucky for him. If he had been wrong, and James did catch smallpox and died, Jenner would have been considered a murderer. (A History of Vaccines)When Jenner first invented the vaccine, it was purely the virus that was suspended in saline solution. Now, there are so many additives and fillers in vaccines, its no wonder there are so many rising health problems. One of the most shocking ingredients is mercury. Mercury is in a protective called thimerosal, which is used in vaccinations. Even the smallest amount of mercury in a body croupe make out nerve damage. Symptoms of mercury toxicity are similar to those of autism. Another preservative is formalin which contains the embalming fluid, formaldehyde.Formaldehyde is the liquid that cadavers are soaked in to keep them from rotting while research is done on them. It is poison to the gastrointestinal, liver, respiratory, immune, nervous, and reproductive systems. The reason its in vaccinations is be clear it stops viruses from replicating or reproducing themselves. Another shocking ingredient is familialally modified yeast, animal, bacterial and viral DNA. This can incorporate itself into the recipients DNA and cause genetic mutations. Phenoxyethan ol is used in anti-freeze as surface as vaccines.Its a preservative that prevents bacterial and fungal contamination. Phenoxyethanol is toxic to all cells and is capable of disabling the immune systems primary response mechanism. aluminum is used in vaccinations as an adjuvant, which improves immune response. It can cause brain damage, and is suspected to cause Alzheimers Disease, dementia, and coma. Beta-Propiolactone is a sterilizing ingredient in vaccines. It is known to cause cancer and is poisonous. Probably the most horrifying ingredient in vaccines is the human and animal cells.Human cells from aborted fetal tissue and human serum albumin (the most abundant protein in human blood plasma), and animal cells from pig blood, horse blood, rabbit brain, guinea pig, hound dog kidney, cow heart, monkey kidney, chick embryo, crybaby egg, duck egg, calf serum, and sheep blood. These are in vaccines because viruses cannot grow on their own they must have a living host to grow in. (I nterview with Sherri Tenpenny About Dangers of Vaccines NaturalNews. tv) (Vaccination Education Center) This leads to the question, are vaccines cruelty-free? The answer is no, they are most certainly not.The pharmaceutical corporations are okay with the abuse of animals. They purposely compensate animals diseases for research and inbreed them to the point of it being cruel to keep them alive because of all their health problems. The lab that harvests the cells from chicken eggs isnt any better. They keep the chickens crammed up in a shed until they die from experienced age or sicknesses. The fertilized eggs are kept in constant light which is very unexpressed on the chicks and makes them so weak that the chicks dont even react when the lab technician candles the eggs to sum up their development.When theyre through collecting the cells from the eggs, they freeze them and throw them away. Freezing the eggs freezes the chick alive on the inside. Somemagazines, when an overabundan ce of eggs occurs, the lab technician doesnt even bother to freeze the eggs, they just throw them away, cleanup position the chick slower. If for no other reason, hearing about the cruelty towards animals should be the point where people subside not to support vaccinations. Vaccinations started off as good intentions but have been corrupted over time.Children are dangerously overdosed. Neil Z. Miller, the author of Overdosed Babies Are Multiple Vaccines Safe? writes, Today, children receive one vaccine at birth, eighter vaccines at two months, eight vaccines at four months, nine vaccines at six months, and twelve excess vaccines between 12 and 18 months. The pure and innocent baby is overdosed with 38 vaccine/drugs by the time he or she is 1? years old In an interview with Dr. Sherri Tenpenny, she mentions the fact that the flu peter was not originally meant for children.When it was first made, the drug companies deemed it dangerous. A little while later they realized they cou ldnt put it on the vaccination schedule for adults if they didnt have it on the vaccination schedule for children, so they added it. Now they have vaccination programs for children and even have childrens shows supporting them. All of the poisons in vaccinations outdo the benefits. Is it really worth getting cancer, dementia, and birth defects just so that the flu is avoided? Harris L. Coulter, Ph. D. ays, A major cause of the Roman Empires decline, after six centuries of world dominance was its replacement of stone aqueducts by lead pipes for the transport and supply of drinking water. Roman engineers, the best in the world, turned their fellow citizens into neurologic cripples. Today our own best and brightest, with the best of intentions, achieve the same end through childhood vaccination programs yielding the modern scourges of hyperactivity, learning disabilities, autism, appetite disorders, and impulsive violence. The drug companies that distribute these vaccines are fully conscious of whats in them and their harmful effects.They see it as job security. If the people that they give these vaccinations to get the impend side effects of them, theyll go back to the doctor and ask for medications to rid them of the side effects. These medications allow for all fix that one problem and give them a plethora of other side effects. Its a vicious cycle of expensive, dangerous drugs. Autism, for example, requires at least 5 different medications. Just one of these medications such as an anti-depressant, like Prozac and Zoloft which control anxiety, depression, and obsessive compulsive disorder can cause many side effects.Common side effects of these medications include sleepiness, nervousness, insomnia, dizziness, nausea, rashes, headache, diarrhea, upset stomach, and weight loss. (Top 5 Drugs for Autism) Therefore, with all these side effects, doctors and nurses will always have a job. Even if parents decide not to get their children vaccinated, the childr en will still end up getting the harmful ingredients and effects of vaccines, because the aluminum, mercury, and other poisons, stay in the bodies of the parents forever and will be passed on to their children. Be it through breast milk or blood, the children will get it. Vaccines and Your Child) (Overdosed Babies Are Multiple Vaccines Safe? ) Vaccinations, in my opinion, are surrounded with unethical practices and procedures. There are vaccines on the vaccination schedule that are not proven to be able to treat or prevent anything. The only reason theyre on the vaccination schedule is so that the pharmaceutical corporations can make more money and appear to be helping to make people healthier. Everyone should educate themselves on whats being injected into their body and not just trust their doctor. Some doctors only think about the money and not really about whats healthy for the patient.For example, the doctor could know perfectly well that a vaccine was unnecessary or unhealthy for the patient but if there were going to be benefits given to that doctor theyd give the patient the vaccine anyway. This is the reason why there are so many rising health problems. Animal cruelty is another unethical practice. The animal testing, the big(a) animals diseases for research, the unnecessary wastefulness of chicks, its all unethical and disgusting. I, for one, am definitely going to think twice before I vaccinate myself, and in the future, my children.

Factors for Going Public Through an Ipo Essay Example for Free

Factors for Going Public Through an initial offering EssayWhen an organization is private they cause decisions to make. Going public with an initial public offering, or initial public offering is one decision they can choose. When going through an IPO there is going to be maturationd smashing. A public offering provide allow a company to raise capital to use for various corpo aim purposes such as working capital, acquisitions, research and development, commercialiseing, and expanding plant and equipment (FindLaw, 2013). Other favors of choosing an IPO would be liquidity, increased prestige, valuation, and increased wealth. WeaknessesEven though going public has some advantages, it can also have some disadvantages too. The time and expense is probably one of the biggest disadvantages with this choice. It can take over a year and much money for fees to even start the process of an IPO. Other disadvantages to going public through an IPO would be disclosure, decisions based on stock price, regulatory review, falling stock price, and vulnerability. Disclosure is some other part that can be costly when starting an IPO. That core that the organization has to make all fiscal records available to the public. OpportunitiesGoing public is a way to increase public awareness of the company. The company provide have more exposure of its product line. This awareness result increase sales because the product pull up stakes be introduced to a untried group of potential invitees. An opportunity to increase clients will have an increase in market share. Investors will have a positive reaction to the company as it increases its market share. ThreatsAs a public company, there will be accounting practices that will exact to be met. The SEC requires public companies to comply with the regulations. The cost to comply with SEC regulations can be expensive in addition to the regulations the SOX Act will require an external accounting firm to audit the company addin g supernumerary cost. Since Lafleur will now be operating as a public company, they will have the blackmail to perform for the market. The actions of the companys management also become increasinglyscrutinized as investors constantly look for rising profits. This whitethorn lead management to perform somewhat questionable practices in order to boost earnings (K. Balasubramaniam, 2009).Factors for getting a nonher(prenominal) organization in the identical(p) industry StrengthsAn organization can also acquire another organization in the kindred industry. A major strength with acquiring another organization is that Lafleur traffic Company would be the owner of both organizations and would hold the power of both at the same time. The new organization loses its power and sometimes even loses the name. acquiring another organization might be through with(p) to save the original smaller company piece boosting sales for the larger company. If Lafleur would choose to keep the client list of the new organization it would be strength for them and those clients. The clients would still be able to receive the same products, but under new owners. With the new organization being in the same industry Lafleur would not have to buy any additional equipment for the new product. They could just bring the product over to their buildings. WeaknessesAcquiring another organization has its weaknesses too. Customers can become upset over this because they want to be loyal to the anterior owners over the newer ones. Lafleur would have to pay a premium to the affiliate of the organization to keep the customers happy (if they can) and without touch cash flow. OpportunitiesThere is opportunity in a companys strengths. Lafleur can take advantage of the successes the acquired company has accomplished in the areas of product, marketing, research and development, and staffing. They can also avoid mistakes that have been made in the past. Using a synergy strategy in this process of ac quisition will require Lafleur to be knowledgeable in the operations of the new company. ThreatsThe threat of acquiring another company in the same industry is in its customer base and product line. Lafleur may not be gaining new clients or offering new or improved products. The sales team may be making the same sales calls to the same customers the other company. In this scenario,Lafleur will be gaining the companys debt without the benefit of expanding resources for future tense growth. Merging with another organizationStrengthsMergers are different than acquiring a new organization because when ii companies merge they work together instead of taking full control of the weaker company. Mergers can help both organizations while also benefiting the public. The new firm will have increased market share, which reduces competition (Economics Help, n.d.). The conjugation will help financially because the company will get a reform interest rate for the size. Efficiency is strength fo r mergers because the companies can bring the more visitd employees from both organizations together. An important strength of a merger is having diversity between the two original organizations. Other strengths would be research and development, avoiding duplication, and regulation of monopoly. WeaknessesMergers have weaknesses just like any other choice to expand the organization. Mergers mean higher prices for products because competition is shorten when two organizations become one. A merger also means fewer choices of products for customers. One of the biggest weaknesses for a merger would be fewer jobs in each organization. This means that Lafleur would have to let go of some of their employees while the organization it mergers with would have to also let go of some. The employees that are left might experience diseconomies of scale. This means that the employees will feel like they are part of a big corporation and their motivation will start to go away. OpportunitiesOppor tunity lies in a merger with a larger well cognize company. Lafleur will gain the experience of growth from a larger company. There is also the opportunity of better benefits, salaries, increased revenue, and the expansion of offices in other markets. There must be research to be do to choose a company that will aid in future growth. This company will need to be a worthy partner and not a company that needs a life line to survive. ThreatsIf a company does not have a growth opportunity on its own, it will not have growth opportunity when it merges with another company. The threat of Lafleur not benefitting from shared resources can result in failure for both companies. Another threat to a merger is mis-management. If the other company is poorly managed, Lafleur will suffer with unrealistic strategic goals, poor communication, and uncertain future success. It is because of these reasons that most companies do not experience more than one merger in their lifetime, they usually fail.B alasubramaniam, K. (2009). Advantages and Disadvantages for a Company Going Public. Retrieved from http//www.investopedia.com/ask/answers/06/ipoadvantagedisadvantage.asp

History of Sensory Theatre

History of Sensory TheatreWhat does sensorial field of honor mean to the innovational audition?As i of the of years(predicate)est nontextual matter forms and as maven of the primeval kinds of humanexpression, the record of field of honor is as varied across the continents aspainting, pottery, sculpture or any of the classic art-forms. Each civilization, from all(prenominal) one society, each gathering of humankind has had its personalform of agency deed from path artists to court jesters to nomadic acquireers. Many would say that this variety at the really core of representation discoverment is what has permitted airfield to take such(prenominal) a respected and crucial let on of our modern societies. Too often it is claimed that our present daylifestyles leave critical time for abstract thinking and artistic appreciation orachievement. This is lamentable except thankfully non normally true. One need only observe the continuation of thus farts such as the Wel sh National Eisteddfod forhundreds of eld to realize that the human desire and need for dramatic art willnever diminish.However, this is not to say that modern society has not changed discipline. It is only natural that artistic issue give should be modeled by the lifestyle surrounding it. after all, warlike civilizations such as the Vikings delighted in the narrating of age-old sagas w here(predicate)as more than enlightened peoples like the antique Greeks would draw inspiration from mythical dramas which detailed the flaws at the heart of humanity and their relationships with their gods, representing a search for elements wide than themselves.However,we after part take it as certain that the theatrical productions of the last fiftyyears prep be overwhelmingly been segmentation of a resurgence of theatrical diversity. Asthe ingenuous market has made nations more accessible to each other, a cut ininterest for all sorts of artistic expression has been felt around the wo rld.Herein, we shall focus on the analysis and comprehension of one of these.Sensory bena, or at least the old meaning of the term, is not a new concept.At its very core, often of what constitutes planetary house relies heavily on the senses, twain those of the listening and that of the actors. Nevertheless, at a time whenour fast-paced lifestyle seems to rule in anything out of the ordinary or whichcan be labeled as different, it is refreshing to touch that this resurgence hasregenerated one of the unfeignedly great aspects of theatre, oft labeled as post-modernist scarcely one which links so more than of relatively recent artistic out coiffe across theboundaries of different art formsPost-modernity,in attacking the perceived elitist begin of Modernism, desire greaterconnection with patient ofer hearings. This is often labelled accessibility andis a central point of dispute in the question of the place of postmodern art.It has also embraced the mixing of words wit h art, collage and other movementsin modernity, in an attempt to create more multiplicity of medium and message.Much of this centers on a shift of basic subject matter postmodern artistsregard the push-d throw list media as a fundamental subject for art, and pulmonary tuberculosis forms, tropes,and materials such as banks of video monitors, found art, and depostions ofmedia objects as focal points for their artPostmodernisms critical stance isinterlinked with presenting new appraisals of previous kit and caboodle. As implied abovethe works of the Dada movement standard greater attention, as didcollagists such as Robert Rauschenberg, whose works were initiallycon berthred unimportant in the context of the modernism of the 1950s, scarcely who, bythe 1980s, beganto be seen as seminal. Post-modernism also elevated the importance of cinema in artisticdiscussions, placing it on a couple take aim with the other fine arts. This is bothbecause of the blurring of features between hi gh andlow forms, and because of the recognition that cinema representedthe creation of simulacra which was later(prenominal) duplicated in the other arts. (Wikipedia,2005)Inthis dissertation, we shall be analyzing aspects of receptive theatre as has beenexplored and toyed with by both(prenominal) great artisans of the craft. Despite anyproblems we gull with wholesale rejection of this type of theatre, in the interestof fair-minded and complete research, we shall pay due attention to theAristotelian school of thought. That which claims that theatre is a particulartype of experience, one from which the hearing member should feel cleansed and find learnt a lesson. This is a valid point of view, one which we shallthoroughly explore in put unitedly to see if it is indeed more artisticallyjustifiable than sensory theatre. laterexploring Aristotles opinions, we shall look in pull ahead depth at the nature ofsensory theatre. What does this term mean? How is each sense tapped? Can the melding of experiences of several(prenominal) senses which be simultaneously stimulated endure an elevating experience? For this exploration, we shall use the casestudy of Dwr (water in Welsh), a sensory makeup of theatre put on in2003, using water, light and various materials to explore re action mechanisms amongst its auditory sense. The reasons for using this play are that it was an audiovisualexperience as rise as a mere theatrical one as projections and cameras were anintegral part of the performance. Furthermore, the sensory effect of the sense of hearing can be demote analyzed as members of the audience were also used inthe play, their reactions helping to define the type of sensory experience.However, Dwr also gives us a good example of Brechtian theatre for the number of levels the play takes on. The actors themselves act as facilitators for the audience to receive personal sensory experiences. With only a minority of audience members taking part in the play, we can ga in two further levels of randy depth and complexity. The public standground of the audience will see their emotions and senses assailed by the movements, gestures and decisions of those taking part while this minority will be subjected to sensory input and emit feedback with no room for forethought or planning ahead.Thus, we shall provide a very definite and enkindle example to back up any clear defining of sensory theatre we come to. We shall also look at how Dwr fits into the patterns of sensory theatre created by Brecht and Artaud and how its attitude towards its audience defines this multi-tiered theatre as one of the crucial points of sensory theatre.However,no analysis of sensory theatre without detailed research into the works ofpioneers of the genre. Here, we have chosen to look at Bertolt Brecht andAntonin Artaud, each for specific reasons. Brechts attitude, utterly inconflict with the age-old Aristotelian views of theatre, helped descriptor hisreputation as an agitate ur who decided to stamp his hold distinctive markupon an art form he viewed as static. Thus, the habits of Brechtian theatre oftotal acknowledgement of the audience caused as much mirth as it did anger. Onthe other hand, Artaud provided his audience with a exclusively integralexperience. By using sensory theatre to deny audience members their prevalent rightto involve themselves in a performance to a degree of their choice, Artaud madesure his plays would deeply shock his audiences. We will be exploring Artaudstechniques as well as his reasons for providing this kind of theatre.It is the goal of this dissertation to highlight the differences that make sensory theatre an integral genre of its own, containing so many outlets for creativity, expression and emotional concern as to make it not only an interesting part of theatre but an essential one. Its recent resurgence will thus provide us with an precedent platform from which to assess its meaning to a modern audience.TheAristot elian view of theatrical normsGoodoratory can blow the walls forth brick buildings. Not just in the real world ofpolitical speeches or rallies but in the arts as well. As one of the only formsof human expression where no point of view is unheard, no contingence unconsidered,no leaf left unturned, theatre has throughout its history course overthrownand shrugged saturnine any shackles or conventions abandoned to it. This idea couldgive rise to an impression of mayhem and anarchy in an art form that had runa musical mode with its own importance. As one of the leading figures in the history ofliterature, Aristotles views on the nature and importance of theatre arewell-documented and naturally thought of as still germane(predicate) today.Aristotlehad the very human characteristic of harking back to the good old days, andthinking them much better than the days in which he lived. Taking scant accountof Aeschylus,he regarded Sophoclesand Euripidesas models in tragedy. His chief complai nts were that the poets of his own timespoiled their work by rhetorical display that the actor was often of moreimportance than the play and that the poets tampered with the p sess in order togive a favorite actor an opportunity of disperforming his special talent. He saidthat the poets were deficient in the power of word-painting character, and that itwas not even fair to compare them with the giants of the former era. (FletcherBellinger, pp.61, 1967)However,in the matter of sensory theatre, we run into an area of some(a) problems. Beingof a conservative mind-set which appreciated theatre for the moral lessonscontained within the narrative, Aristotle worshipped Sophocles with hisstraight and narrow approach to theatrical drama whilst eschewing the work ofhis contemporaries as being too popular, too watered quite a little to meet the needs ofa public desirous of less preaching and more fun within the theatre.Aristotlepossessed possibly what could be interpreted as a rather narrow view in that hesaw tragedy as the greatest form of dramatic expression, almost utterly march oning take on comedy as mere ruffle as compared to tragedy with the great lessonscontained within it. Furthermore, Aristotle also considered tragedy to bemagnificent when it also contained a clear and well constructed narrativeframework and mythological references to the deeds of greater men and gods in anobler past. Although Aristotles writings on these topics did make a lot ofsense, they are considered or so restrictive and far too imbued with theirown authority to be seen as of much use today. After all, in a society wherethe possibilities of theatre are slowly catching up with those of television receiver orcinema as directors, playwrights and stage designers are al moods exploring newavenues of performance, Aristotles three unities of time, place and actionseem ready to be retired. Their far-too stringent requirements of both cast andcrew make them almost impossible to operate in the modern world of freetheatre.This is no extensiveish a society where the writings of one man, whoever he may be, carry enough influence to truly make as significant an impact as in antediluvian Greece. It is not to say that Aristotle should be disregarded but concerning sensory theatre, rules relating how plot should be more important than character and how all the action in a tragedy should be centered around a personage of importance to better capture the attention of a fickle audience seem slightly moot. Its relevance is in the point that much of what is known of theatrical conventions among a lay audience is heavily based on Ancient Greek theatrical philosophy, particularly Aristotle. It is precisely this philosophy that sensory theatre will have to vanquish in order to claim its place as a rightful and deserving genre of theatrical achievement across the globe.Visual,auditory, tactileDwrChoosingan example to illustrate the nature of sensory theatre is a tricky balancing act as one mustiness therefore, in some instruction at least, pre-define ones understandingof the genre. How do we choose between the senses? After all, since the name ofsensory theatre does not make any kind of distinction, do we consider thesenses of sight and earreach more important than the other three since they areoverwhelmingly the most stimulated in matters of theatre? A distinction such asthis would make sense certainly but since sensory theatre is often seen asstanding alone from usual theatre, perhaps it would be unfair to appraise itthanks to assumptions based on more conventional modes of theatre. Instead,the best way to gain a true idea of sensory theatres snip of potentialimpacts would be to base an example upon several criteria. Firstly, although itwould be somewhat over-expectant to try and find a play which could tap allfive of our senses, several attempts at sensory theatre have successfully industrious audiences on three senses, if not four. Herein has been c hosen Dwr,a Welsh meet put on in 2003 in Aberystwyth and then broadcast on S4C on thearts programme, Croma.Theset-up of the piece was simple. The audience were sit on one side of thestage on a raised-up area, overlooking a long perpendicular dinner party table. Theinside of the table, rather than being an ordinary flat surface, had beenhollowed in order to form a shallow pussycat some six inches deep along thetables entire length. The pool was filled with a level amount of money of clear waterat the bottom of which a table had been set ready for dinner, complete withplates, cutlery, glasses and napkins. Above the audience, undimmed down upon thetable was a immobile projector which reflected the pool of water onto a backprojection screen in a way which magnified and increased the shadows cast byany ripples in the water. Six audience members were asked to be seated at thetable, as if for dinner before being submitted to a range of experiences by theactors whilst cameras recorde d their reactions. These sensory experiments all gnarled stimulation of an audience member in matters of sight, sound, taste orfeeling. We shall look at the manner in which each of these senses was tappedas well as Dwrs technical set-up.Firstof all, if one were to ask any theatre-goers, it would be certain that even themost intermittent of these would claim the two most stimulated senses in thetheatre are that of sight and hearing. Whilst conventional thinking would allowthis to be true, a distrustful perspective would add that since our behinds orfeet, depending on posture, contribute much to the enjoyment of a theatricalperformance three senses, not two, must all be satisfied for a performance tobe considered praise-worthy. After all, although stage design is an oftforgotten art among those who are not privileged to the inner workings oftheatre, the choice of venue often signifies how an audience will feel duringthe performance. Stage design is often considered only in terms of s ets, propsand technical apparatus whilst the idea of crowd comfort is often overlooked.In the case of Dwr, the crowd comfort was adequate but the truly interesting phenomenon for the audience of this play was that their peers were submitted to the action contained within it. The stage design was such that the light poured onto the water was talented enough to cause the right amount of shadow reflection whilst not blinding either the audience or the actors. This careful use of projection in order to achieve the desired effect was a technique made famous of Josef Svoboda who pioneered the use of audiovisual projection in theatre to enhance the general experience. The stimulation capabilities of a performance, when combined with camera and sound equipment, is vastly heightened thus cementing Svoboda as one of the great names of sensory theatre.Asfar as the audience members who became a part of the performance itself, thesenses stimulated were done so in a way which gave every sense t he time tofully absorb the impact of its experience. First of all, each audience memberwas seated at the table in the guise of a dinner guest but asked not to talk toeach other or carry out any action except if indicated to do so by one of thesurrounding cast. First of all, each dinner guest was asked to remove theirshoes and socks before move up onto the table into the water. The stage itselfwas kept at a warm temperature in contrast to the cold water, fashioning the changein surroundings quite drastic. Then, the audience member was asked to burst aplastic bag full of water with a long hooked pole. The water would thus droponto the audience member along with a fake plaster egg.The audience member would then be lead back to their seat, given a towel to dry off before being given two chopsticks. After breaking the egg on the side of the table, the table of contents would then be spilt onto the plate just below the surface of the water. Each egg contained some nutrient coloring, sp reading across the table along with the ripples, along with a small piece of paper. Each piece of paper learned the face of a man, wearing different emotions, whilst a brief poem on the back seemed to explain the expression, a poem that would be read by one of the surrounding cast to the relevant audience member. The relationship between the pictures and the poems may not have been immediately obvious but the reactions of the audience members were still assured to be both personal, if not natural due to unusual surroundings and unrivalled experiences.These reactions were filmed by the technical crew on video cameras, adding another level of complexity to the performance as the traditional boundaries between cast and crew become blurred. Furthermore, Dwrs entire performance was played out under a constantly shifting pattern of music which although always instrumental would speed up in tone or gently slow down in function of events happening in the play.Thepurpose of using Dwr as an illustration of the modern applications ofsensory theatre and its meaning to a present-day audience is threefold. Firstof all, the clock of the piece and its broadcasting on a national channelalong with subsequent interviews with the chosen audience members proves theinterest placed in it by a major broadcaster as the BBC has major impact uponS4C scheduling. Secondly, the sensual experience of the show provided afascinating outlet for the audience members, both for those who took an activepart or a passive part, to find out more about what constitutes modern sensorytheatre.Although the audience numbers for this show were relatively small and thus can only provide us with a minor cross-section of theatre-goers, the positive feedback gained at the end during the interviews can give a lot of hope as to the future of sensory theatre. Finally, to use an example such as Dwr gives us a view as to what kind of reaction this genre of theatre would meet with. Dwr covers a broad base of senso ry theatre as its performance, not only stimulating several of the senses themselves, dealt with a range of theatrical theories and ideologies which we shall look at in further detail. By separating audience members from each other, creating many layers of humans between crew and cast, audience and cast and audience and crew, Dwr rejectedmany traditional aspects of theatrical performance.However, by engaging its audience/cast members with an individual experience through the messages contained within the eggshells and filming their response, Dwr could be said to have engaged with a more conservative Aristotelian version of theatre. Each audience member not involved with the show directly as a dinner guest will have experience the play as a visual and auditive experience but it is for the six members of the audience at each performance that Dwr transcended the limits of ordinary theatre and became a emotional and sensory journey felt by each in their own individual way.Below, we wil l be casting an eye at the ways in which theatrical pioneers such as Brecht and Artaud tackled the rigours and the conventions of an art form that they viewed as being a free form, lacking in any structural restrictions. Before doing so, we can still observe that even if Dwr did pander even the slightest bit towards an Aristotelian theatre, the main body of its performance was firmly in the territory of Artaud as we can see when applying this passage to precisely the type of theatre Dwr tries to avoid.If people are out of thehabit of going to the theater, if we have all finally come to think of theateras an inferior art, a means of popular distraction, and to use it as an outletfor our worst instincts, it is because we have learned too well what thetheater has been, namely, falsehood and illusion. It is because we have beenaccustomed for four hundred years, that is since the Renaissance, to a purelydescriptive and narrative theater storytelling psychology it is becauseevery possib le ingenuity has been exerted in bringing to life on the stageplausible but detached beings, with the spectacle on one side, the public onthe other and because the public is no longer shown anything but the mirrorof itself. Shakespeare himself is trusty for this aberration and decline,this disinterested idea of the theater which wishes a theatrical performance toleave the public intact, without setting off one image that will shake theorganism to its foundations and leave an ineffaceable scar. If, in Shakespeare,man is sometimes preoccupied with what transcends him, it is always in order todetermine the ultimate consequences of this preoccupation within him, i.e.,psychology. (Artaud,No More Masterpieces, 1976)Evensuch divides as between audience and actors, theatrical conventions that are sohabitual as to often be altogether forgotten, were not sacrosanct enough fordirectors, playwrights and actors such as Brecht, Artaud and Svoboda.TheBrechtian impact or the alienation of theatri cal traditionEarlierin this dissertation, it was suggested that Aristotles views on theatre andsubsequent impact thereon had diminished somewhat with the dawn of a time wherethe philosophies of the Ancient Greeks mattered little. However, the centuriesthat his views transcended have signified that they could not dissipate soquickly. Many modern opinions on theatre, however avant-garde or post-modernistthey wish or claim to be, are still make largely on the back of the opinionsof men such as Aristotle. However, this obstacle would be taken to piece by menand women like Brecht, who wished not to merely co-exist with existing viewsbut confront their defenders and destroy the ideological entrenchment that manytheatre critics had resorted to in the face of the changes sweeping throughtheir beloved art form.In his early plays, Brechtexperimented with dada and expressionism, but in his later work, he developed astyle more suited his own unique vision. He detested theAristotelian drama and its attempts to lure the spectator into akind of trance-like state, a total identification with the hero to the point ofcomplete self-oblivion, resulting in feelings of terror and pity and,ultimately, an emotional catharsis. He didnt want his audience to feelemotionshe wanted them to thinkand towards this end, he determined todestroy the theatrical illusion, and, thus, that dull trance-like state he sodespised. The result of Brechts research was a technique known asverfremdungseffekt or the alienation effect. It wasdesigned to encourage the audience to forbear their critical detachment. (Imagi-nation,2003)Thisis not to say though that to achieve such an accomplishment was possible formerely any theatrical commentator. It took men of special gumption, gravitasand guts to dare attack such a powerful establishment as that of traditionaltheatre. Bertolt Brecht was one of these. Blessed with the ability to fightbattles on several fronts whilst still maintaining a clear head, Brecht be ganto cause disceptation early on in his career. Looking to fulfill a desire formore relevant and modern theatre amongst German theatre-going audiences,Brecht, through plays such as Drums in the Night and with therecognition of director Erich Engel, flirted with an expressionistic style thatbefitted his rebellion status but left Brecht himself feeling uncomfortable.Although his style was becoming fashionable and it would undoubtedly havebrought him his time in the spotlight, Brecht felt that he should discover aplaywriting identity which was his own and not borrowed from anybody else. Ifwe consider that at this time Brecht was writing in post World War I Germany,we can observe the bravery it must have taken for him to make this type ofdecision.Duringthe turbulent years of the socialist rise in Germany and the Weimar Republic,Brecht knew a petty(a) amount of success in both theatre and literature thanks toplays such as In the Jungle of the Cities and his partnership with Engeland Hans Eisler but he was only just beginning to find his feet in a style allof his own. The final step in this direction would be his years with his owncollective of writers, the most famous takings of which would be the Lehrstuckewhich would form the root of the theatrical changes and theories we thinkof as Brechtian today. Lehrstucke propounded that passive audiences werea thing of the past in matters of theatre and that it was necessary foraudiences to become more actively involved in a performance whilst keeping astrong level of emotional distance in order to remain capable of rational thoughtand criticism. This collection of thoughts would slowly pass into commonpractice in theatrical troupes and communities around the world, a practiceknown as epic theatre.Epictheatre today may seem as historical and pass as Aristotles views did forBrecht but the truth is that the numerous and varied adaptations of epictheatre have formed much of todays common theatrical practices. Before Brech t,the demarcation between the audience and the actors was sacrosanct. SinceAristotle, the status of the star actor had go so much that now actors wouldmerely be cast in a role that was known to be in their repertoire, a fact whichcould lead to truly spectacular levels of diva treatment or ridiculouscastings. memorise for example Sarah Bernhardt whose notoriety had reached suchproportions that she cast herself as Hamlet. This is not to say there isanything wrong with female actors playing traditionally male Shakespeareanparts but it is the manner in which Bernhardt carried out this casting that madethe item ridiculous. Aristotle lamented this type of situation as beingone of the great plagues striking tragedy theatre whilst Brecht merely laughedat it and lambasted it in his own style.His patented Verfremdungseffekt (or disaffection effect) was a sweepingly original style which not only acknowledged the audience as a part of a theatrical production and encouraged them to change th eir own attitudes to theatre. Instead of allowing traditional gaolbreak of disbelief and letting audiences feel as if they were watching a truthful event, Brecht went out of his way to instigate them that what they saw was a representation, a mirror onto existence and never reality itself. This was carried out by having actors un adviseds break character and address the audience to explain the plot, grossly over-exaggerated props or sets in the nerve of an otherwise serious play or great placards on the stage petition the audience to express in a certain way by ignoring a particular happening or to regard less romantically. These unusual situations for an audience confused them and alienated them from the play, hence the name alienation or estrangement effect. This separation from conventional theatrical theory became very fashionable after the war in both America where he lived until being pestered by HUAC and in communist East Germany where he resided until his last in 19 53. The appeal of Brechts type of theatre across the globe speaks volumes about how the traditions of theatre were rejected by a large section of theatre going audiences.The sensory feel of the Verfremdungseffekt were indirect but by creating this new separation of audience and stage in an allegorical as well as in a physical sense, Brechtian theatre enabled its audiences and directors to experiment with new sensations. The greatest example of this is in some of Brechts later plays such as The Good Person of Szechwan and Galileo. For example, in Galileo, the portrait he paints of the astronomer is of a hag-ridden soul wracked between his scientific duty to tell the truth to an unsuspecting world and the threat of requital from the dark figure of the Grand Inquisitor. This moral dilemma was planned by Brecht as a way to get his audience to think rationally about the situation and contemplate what they would do in such a situation rather than feeling sorry for Galileo.However, if Br echt had one failing, it was that despite his ability to meld together a myriad of sources into a convincing single narrative, he did not understand the human nature of his public. Persuaded that with the right play, he could force his audience into abandoning their emotional side, whether he realized it or not Brecht was asking people to set aside the precise reason most of them came to the theatre.His theories resulted in a number of epic dramas, among them Mother Courage and Her Children which tells the story of a travelling merchant who earns her living by following the Swedish and Imperial armies with her covered wagon and selling them supplies clothing, food, brandy, etc As the war grows heated, Mother Courage finds that this profession has put her and her children in danger, but the old woman doggedly refuses to give up her wagon. Mother Courage and Her Children was both a triumph and a failure for Brecht. Although the play was a great success, he never managed to achieve in his audience the unemotional, analytical response he desired. Audiences never fail to be moved by the plight of the stubborn old woman. (Imagi-nation, 2003)Anemotional journey where characters could and should be empathized with orcondemned was much of what has always constituted theatres engagement. Eventhe averagely smart and aware audience member does not need the moral absolutesof right and wrong as claimed by Aristotle but the desire to identify with oneor more of the central characters instead of merely rationalizing about theirfates without feeling was too strong in the vast majority of theatre-goers.Brechtis claimed doubly to be both a modernist or one of the graduation post-modernists.Although some claims have been made that a taste for his kind of theatre quicklyinspires in the face of so much cynicism, his importance and the size of hisimpact upon world theatre cannot be underplayed. Today, many of his conventionsare so common as to be taken for granted whilst a collecti ve of Brechtiansstill operates and remains as long-standing proof to the glory of his genius.Conventionalrelief in theatre and Artauds rejection of itEverygeneration is locked in a perpetual struggle with those that come both beforeand after to break free from the shackles of their ancestral traditions, carvetheir own identity and thus prepare the way for a similar fight with thegenerations that are to follow. Although social morays may seem to remain stilland constant, this is only an illusion, one that can only too tardily be piercedby artistic expression. Artists have often been marginalized as second-ratemembers of society, ones that are not indispensable to the everyday streak ofour lives. Seen as not producing useful since all their efforts did not feed,clothe or warm anybody, it became a painful reality that if actors or musicianswanted to survive, they were required to curtail any creativity and pander toprecisely what their audiences desired.While this unfortunate turn of events could be passed off as a mere passage in the history of theatre, it left behind some highly tell-tale signs. The simplest of these is that from the Renaissance onward through the Classical period, theatre had become significant with escapism. The majority of plays, and here one cannot deny Aristotles continuing influence, harked back to former days lamenting a fallen age of glory, honour and noble deeds. Whilst this fond reminiscing was unimpeachable in its desire to awaken a better side of humanity in audiences, it often met with boredom and