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Zeitschriftenartikel zum Thema „Theatricals“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2025

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1

David, Deirdre, and Nina Auerbach. "Victorian Theatricals." NOVEL: A Forum on Fiction 24, no. 3 (1991): 337. http://dx.doi.org/10.2307/1345947.

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2

Hawley, Judith. "Dilettante Theatricals." Performance Research 25, no. 1 (2020): 67–72. http://dx.doi.org/10.1080/13528165.2020.1736745.

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3

O’Neill, Patrick B. "The Royal Engineers, 1858-1863: Theatrical Entertainment for and by the Enlisted Men." Canadian Theatre Review 101 (January 2000): 11–14. http://dx.doi.org/10.3138/ctr.101.002.

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From the seventeenth to the nineteenth centuries, part of the British officer’s cultural attainment was his assistance in the provision of theatrical entertainment; however, it was not necessarily part of the attainment of enlisted men, many of whom, during the first part of the nineteenth century, could neither read nor write. For the enlisted men, private theatricals on a large scale began during the 1840s as a conscious attempt to “provide recreation and harmless amusement for the troops . . . so as to wean them away from the low beerhouses where they are encouraged to desert and commit oth

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4

Mielke, Laura L. "Michael D’alessandro. Staged Readings: Contesting Class in Popular American Theater and Literature, 1835–75." Modern Drama 66, no. 3 (2023): 435–38. http://dx.doi.org/10.3138/md-66-3-rev03.

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Staged Readings argues that a blending of popular literary and theatrical cultures deeply informed class formation in nineteenth-century America – especially the emergence of a white middle class. This excellent study draws on a wide range of archival materials and includes significant analyses of Quaker City, temperance dramas, The Octoroon, and parlour theatricals.

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5

Gardner, David. "Herbert Whittaker. Whittaker's Theatricals." Theatre Research in Canada 16, no. 1-2 (1995): 149–51. http://dx.doi.org/10.3138/tric.16.1_2.149.

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6

Chesterton, G. K. "A Ballade of Theatricals." Chesterton Review 11, no. 2 (1985): 130. http://dx.doi.org/10.5840/chesterton198511220.

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7

Gardner, David. "Herbert Whittaker. Whittaker's Theatricals." Theatre Research in Canada 16, no. 1 (1995): 149–51. http://dx.doi.org/10.3138/tric.16.1.149.

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8

Curley, Eileen. "Tainted Money?: Nineteenth-Century Charity Theatricals." Theatre Symposium 15, no. 1 (2007): 52–73. http://dx.doi.org/10.1353/tsy.2007.0002.

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9

Stabler, Jane. "Pisan Theatricals: Byron and Othello in 1822." Byron Journal 26 (January 1998): 39–49. http://dx.doi.org/10.3828/bj.1998.4.

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10

Watson, Carly. "Private Theatricals in the Harcourt Family Papers." Nineteenth Century Theatre and Film 38, no. 2 (2011): 14–25. http://dx.doi.org/10.7227/nctf.38.2.4.

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11

Sullivan, Mary Rose, and Nina Auerbach. "Private Theatricals: The Lives of the Victorians." Rocky Mountain Review of Language and Literature 44, no. 4 (1990): 249. http://dx.doi.org/10.2307/1346793.

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12

Lewis, Robert. "Tableaux vivants : Parlor Theatricals in Victorian America." Revue Française d'Etudes Américaines 36, no. 1 (1988): 280–91. http://dx.doi.org/10.3406/rfea.1988.1318.

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13

Russell, Gillian. "Maria Edgeworth’s Private Theatricals: Patronage, Zara, and 1814." European Romantic Review 31, no. 6 (2020): 731–46. http://dx.doi.org/10.1080/10509585.2020.1831121.

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14

Winchester, Mark D. "Comic Strip Theatricals in Public and Private Collections." Popular Culture in Libraries 1, no. 1 (1992): 67–76. http://dx.doi.org/10.1300/j117v01n01_06.

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15

King, Ros. "A review ofVictorian Theatricals: From menageries to melodrama." Contemporary Theatre Review 12, no. 1-2 (2002): 295–96. http://dx.doi.org/10.1080/10486800208568678.

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16

Breon, Robin. "Noises Off-Right: Theatre in the Toronto Region." Canadian Theatre Review 93 (December 1997): 16–22. http://dx.doi.org/10.3138/ctr.93.003.

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In their two-volume chronicle of the history and evolution of the theatre in Ontario from the early 1800s to the early 1970s, aptly titled Early Stages (volume 1) and Later Stages (volume 2), editors Ann Saddlemyer and Richard Plant have constructed a rich collection of essays that traces the development of theatre in the province, beginning with the early, mainly imported touring troupes which led to the advent of early indigenous theatricals produced by numerous amateur companies. These travelling companies explored the theatrical landscape of the period and led the way for the development o

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17

Demoor, Marysa. "Nina Auerbach, Private Theatricals. The Lives of the Victorians." Documenta 9, no. 2 (2019): 109–11. http://dx.doi.org/10.21825/doc.v9i2.11097.

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18

Tupitsyn, Victor. "Fried avec Debord: Theatricality by Default." Journal of Visual Culture 16, no. 1 (2017): 74–88. http://dx.doi.org/10.1177/1470412917690968.

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The title of this article alludes to Jacques Lacan’s text ‘Kant avec Sade’ (1963). With that in mind, the author compares Michael Fried’s Art and Objecthood (1998[1967) to Guy Debord’s The Society of the Spectacle, also published in 1967. Whereas Fried unleashes his criticism against ‘the condition of theatre’ and its mounting presence in the realm of visual culture, Debord accuses spectacle of ‘becoming a life style’, endorsed by power structures and fuelled by the media. Chances are that neither art nor objecthood, but rather the spectacle itself is ‘the chief product of present-day society’

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19

Lanszkiné Széles, Gabriella. "Gölle, Kisgyalán, Fonó és Büssü települések kulturális élete a 20. században." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 4 (2016): 287–310. http://dx.doi.org/10.26080/krrmkozl.2016.4.287.

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This study focuses on evaluating half a century of cultural events, especially the theatricals of Outer-Somogy villages, namely Gölle, Kisgyalán, Fonó and Büssü. Photo-graphic materials, play-books, reminiscences were collected and compared to the historical background and other villages in Somogy county.

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20

Litvak, Joseph. "The Infection of Acting: Theatricals and Theatricality in Mansfield Park." ELH 53, no. 2 (1986): 331. http://dx.doi.org/10.2307/2873260.

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21

Norcia, Megan A. "Playing Empire: Children's Parlor Games, Home Theatricals, and Improvisational Play." Children's Literature Association Quarterly 29, no. 4 (2004): 294–314. http://dx.doi.org/10.1353/chq.0.1704.

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22

Costain, Keith. "Private Theatricals: The Lives of the Victorians by Nina Auerbach." Victorian Review 17, no. 2 (1991): 100–103. http://dx.doi.org/10.1353/vcr.1991.0010.

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23

Skinner, Gillian. "Professionalism, Performance and Private Theatricals in Frances Burney's The Wanderer." Romanticism 18, no. 3 (2012): 294–305. http://dx.doi.org/10.3366/rom.2012.0100.

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24

Sullivan, Mary Rose. "Private Theatricals: The Lives of the Victorians by Nina Auerbach." Rocky Mountain Review 44, no. 4 (1990): 249–50. http://dx.doi.org/10.1353/rmr.1990.0052.

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25

Salem Mgamis, Majid. "“Prison Theatricals”: Carcerality and Gender Perception in David Hwang’s M. Butterfly." Advances in Language and Literary Studies 9, no. 2 (2018): 81. http://dx.doi.org/10.7575/aiac.alls.v.9n.2p.81.

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This paper examines David Henry Hwang's drama, M. Butterfly, with view at highlighting the author's dexterity in employing metatheatricality and carcerality to insinuate his message represented in deconstructing gender identity. The play contains an embedded play, performed in a prison setting. Using Michel' Foucault's premises on the prison system, the paper shows how the theatre, just like the prison, functions as a "coercive" environment for learning and cognitive change. In their roles as actors (inmates) in the play (prison), the two major characters, Gallimard and Song, undergo a substan

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26

Lauer, A. Robert. "Between Play and Prayer: The Variety of Theatricals in Spiritual Performance." European Legacy 18, no. 2 (2013): 238–39. http://dx.doi.org/10.1080/10848770.2012.753034.

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27

Shields, Ronald E. "Voices inside a poet's garden: John Masefield's theatricals at Boar's Hill." Text and Performance Quarterly 16, no. 4 (1996): 301–20. http://dx.doi.org/10.1080/10462939609366156.

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28

James A. Winn. "John Dryden, Court Theatricals, and the “Epilogue to the faithfull Shepheardess”." Restoration: Studies in English Literary Culture, 1660-1700 32, no. 2 (2008): 45–54. http://dx.doi.org/10.1353/rst.0.0024.

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29

Weig, Heidi. "Amateur Theatricals and the Dramatic Marketplace: Lacy’s and French’s Acting Editions of Plays." Nineteenth Century Theatre and Film 44, no. 2 (2017): 173–91. http://dx.doi.org/10.1177/1748372717742305.

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Historically an exclusive, upper-class entertainment, private theatricals became a widespread, primarily middle-class pastime in the course of the nineteenth century. To the emerging bourgeoisie, play-acting represented an important way to negotiate class identity by emulating the habits of social elites. The foremost raw materials for private stagings of drama were the acting editions of plays published most prolifically in the second half of the century by T. H. Lacy and Samuel French, consecutively. This paper examines Lacy’s and French’s publication and marketing strategies by placing side

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30

de Sherbinin, Julie. "Transcendence through Art: The Convicts' Theatricals in Dostoevskij's Zapiski iz Mertvogo Doma." Slavic and East European Journal 35, no. 3 (1991): 339. http://dx.doi.org/10.2307/308653.

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31

Heyman, Michael. "Lewis Carroll and the Victorian Stage: Theatricals in a Quiet Life (review)." Children's Literature Association Quarterly 31, no. 4 (2006): 392–95. http://dx.doi.org/10.1353/chq.2007.0004.

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32

Sujing Woo. "A Study on The Caltrop's amateur theatricals -the spectacle of reality and sympathy-." Journal of Korean drama and theatre ll, no. 35 (2012): 47–79. http://dx.doi.org/10.17938/tjkdat.2012..35.47.

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33

Russell, Gillian. "Sarah Sophia Banks’s Private Theatricals: Ephemera, Sociability, and the Archiving of Fashionable Life." Eighteenth-Century Fiction 27, no. 3–4 (2015): 535–55. http://dx.doi.org/10.3138/ecf.27.3.535.

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34

Boziwick, George. "“Theatricals of Day”: Emily Dickinson and Nineteenth-Century Popular Culture by Sandra Runzo." Emily Dickinson Journal 29, no. 1 (2020): 48–54. http://dx.doi.org/10.1353/edj.2020.0000.

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35

Wajih J. Alyo, Mohammad. "Soliciting Audience’s Ovation: The Antagonist’s Artifices and Acting Ingenuity in Shakespeare’s Othello." International Journal of Applied Linguistics and English Literature 9, no. 2 (2020): 43. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.2p.43.

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Rarely does Shakespeare assign the antagonists in his plays such dominant and pivotal roles as he does in Othello. Seldom, either, does a Shakespearean character exhibit such an obsession with playacting and theatricals as Iago does. The paper at hand explores the consequences of Shakespeare’s unusual decision to tip the traditional balance between protagonist and antagonist in favour of the latter in this great tragedy. The paper argues that Othello is more a play about the splendour of playacting and the charm of actors than it is about evil and evildoing. Arguably devised as suffering from

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36

D’Alessandro, Michael. "Dickens and Shakespeare and Longfellow, Oh My!: Staging the Fan Canon at the Nineteenth-Century Authors’ Carnivals." American Literary History 35, no. 2 (2023): 715–43. http://dx.doi.org/10.1093/alh/ajad005.

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Abstract Beginning in the 1870s, the short-lived fad of “Authors’ Carnivals” swept through American cities. At each carnival, hundreds of locals costumed themselves as famous literary characters, performing amateur theatricals and tableaux vivants based on their favorite books. Unexpected character combinations frequently appeared on the same stage. Shakespeare’s Falstaff stood beside Dickens’s Little Nell; Longfellow’s Hiawatha rubbed shoulders with Old Mother Goose. For attendees, these events offered peculiar thrills. Similar to today’s fan conventions and cosplay events, participants engag

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37

Ecklund Farrell, Dianne. "Medieval Popular Humor in Russian Eighteenth Century Lubki." Slavic Review 50, no. 3 (1991): 551–65. http://dx.doi.org/10.2307/2499852.

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Russian lubki, or popular prints, of the eighteenth century reveal clearly an archaic premodern humor. Since 1945 much seventeenth century and early eighteenth century urban popular literature, which before existed only in manuscript books, collections of stories, and plays, has been published and has revealed a native tradition of popular humor in Russian print.' The appearance in popular prints of various characters and activities from the popular festive culture, scenes from popular theatricals, parodies of sundry rites and proceedings, and so forth attest to the fact that this culture of p

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38

Pollak, Zoë. "“Theatricals of Day”: Emily Dickinson and Nineteenth-Century American Popular Culture, by Sandra Runzo." Women's Studies 50, no. 2 (2021): 195–97. http://dx.doi.org/10.1080/00497878.2020.1865960.

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39

Hewitt, Elizabeth. "“Theatricals of Day”: Emily Dickinson and Nineteenth-Century American Popular Culture by Sandra Runzo." Legacy: A Journal of American Women Writers 38, no. 1-2 (2021): 172–74. http://dx.doi.org/10.1353/leg.2021.0015.

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40

Gold, David L. "Ghost Meanings Created by Dictionaries: The Case of Dickens's Use of the Word theatricals." Dickens Quarterly 37, no. 3 (2020): 238–48. http://dx.doi.org/10.1353/dqt.2020.0032.

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41

ZADOROZHNYUK, Ella. "The Provocation around Vrbětice: Dangerous Turns in Czech Nanopolitics." Perspectives and prospects. E-journal, no. 2/3 (25/26) (2021): 129–40. http://dx.doi.org/10.32726/2411-3417-2021-2-3-129-140.

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The anti-Russian crusade launched by most Czech media and political elites several months before the October 2021 parliamentary elections is examined in various dimensions, including domestic and international political context, economic motives, historical and psychological backgrounds. The scandal around the events that took place years ago in Vrbětice is regarded as a mega-provocation and a kind of aggressive theatricals within the Czech nano-politics – the concept of nanopolitics has been introduced by the author in some of her previous publications on the Czech Republic’s specific politic

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42

Vericat, Fabio L. "It’s a Kind of Magic: Henry James’s “Covering End” and the Ghost in the Literary Machina." Henry James Review 46, no. 1 (2025): 14–29. https://doi.org/10.1353/hjr.2025.a950894.

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Abstract: To make sense of what Henry James called the “divine principle of the scenario” it may be best to think of ghosts. If in Theatricals James talks of “the ghostly experience” of reading the unperformed plays he put to print, it is also worth exploring the plays James further turned into tales. It could help to better understand the unlikely tales that compose The Two Magics , where “Covering End” (1898)—an adaptation of his light comedy, Summersoft (1895)—stands uneasily next to James’s most famous gothic tale, “The Turn of the Screw.” It may be that there are more ghosts to “Covering

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43

Brooks, Helen E. M. "‘One Entire Nation of Actors and Actresses’: Reconsidering the Relationship of Public and Private Theatricals." Nineteenth Century Theatre and Film 38, no. 2 (2011): 1–13. http://dx.doi.org/10.7227/nctf.38.2.3.

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44

Lebailly, Hugues. "BOOK REVIEW:Lewis Carroll and the Victorian Stage: Theatricals in a Quiet Life, by Richard Foulkes." Victorian Studies 49, no. 1 (2006): 127–29. http://dx.doi.org/10.2979/vic.2006.49.1.127.

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45

Greenwald, Michael L. "Actors as Activists: The Theatre Arts Committee Cabaret, 1938–1941." Theatre Research International 20, no. 1 (1995): 19–29. http://dx.doi.org/10.1017/s0307883300006994.

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Given the omnipresence of performers of all political stripes speaking for a variety of causes and candidates, it is difficult to remember a time when artist-activists were not an integral part of America's theatrical landscape. Indeed, under David Douglass's leadership, the American Company (formerly the Hallam Company) assuaged Puritan fears about the presence of ‘theatricals’ in staid eighteenth-century New England by performing benefits for local causes, thereby injecting its work with a social purpose. Throughout its history the American theatre has used performance as a propaganda weapon

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46

Isbell, Mary. "P(l)aying off Old Ironsides and the Old Wagon: Melville's Depiction of Shipboard Theatricals in White-Jacket." Leviathan 15, no. 1 (2013): 6–30. http://dx.doi.org/10.1353/lvn.2013.a508046.

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47

Valero Redondo, María. "Organic and Unworked Communities in Jane Austen’s Mansfield Park." Theory Now. Journal of Literature, Critique, and Thought 5, no. 1 (2022): 256–76. http://dx.doi.org/10.30827/tn.v5i1.21429.

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The present article analyzes the bipolar perception of community in Jane Austen’s Mansfield Park (1814) drawing on the communitarian model theorized by the French thinkers Jean-Luc Nancy (1983) and Maurice Blanchot (1983) with George Bataille as a third participant in absentia. Although Austen was obviously unaware of the postmodern theoretical implications stemming from the communal dimension of her novels, I argue that the institution of Mansfield Park functions as a self-enclosed and inbreeding community which is grounded on operative traits—birth, origin, filiation and generation—and which

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48

Jordan, Robert. "Convict Performances in a Penal Colony: New South Wales, 1789–1830." Theatre Research International 21, no. 1 (1996): 33–40. http://dx.doi.org/10.1017/s0307883300012682.

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The craze for amateur theatricals among the higher orders in late Georgian England is notorious. It was a passion that was given vent not only in Britain itself, but throughout the Empire, where military officers and civilian gentlefolk trod the boards in centres as far apart as Montreal and Cape Town, Jamaica and Calcutta. One colony that conspicuously lacked such genteel pleasures was convict settlement in New South Wales. The rigours of the posting, the minute numbers constituting the social elite, their geographic dispersal, and the bitter factionalism of their community effectively killed

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49

Isbell, Mary. "WHEN DITCHERS AND JACK TARS COLLIDE: BENEFIT THEATRICALS AT THE CALCUTTA LYRIC THEATRE IN THE WAKE OF THE INDIAN MUTINY." Victorian Literature and Culture 42, no. 3 (2014): 407–23. http://dx.doi.org/10.1017/s1060150314000060.

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The collision I explore in this essay is not a physical one, though it does emerge from a performance event that brought Ditchers (European residents in Calcutta) and Jack Tars (sailors in the Royal Navy) to the Calcutta Lyric Theatre on February 25, 1858. The collision actually manifests in print, as conflicting reviews of this event. Announced in the silk playbill pictured in Figure 19, the sailor amateurs of HMS Chesapeake offered a benefit theatrical to raise money for the Indian Relief Fund, a charity offering support to “widows, orphans, or other representatives of those who perished in

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50

Li, Yaxin. "The Writings of City in Jane Austen’s Mansfield Park." International Journal of Education and Humanities 10, no. 1 (2023): 181–85. http://dx.doi.org/10.54097/ijeh.v10i1.11115.

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Mansfield Park is the work of Jane Austen, a prominent 18th century female writer. In this novel, Austen depicts the city of London in an indirect way, thus expressing her concern for urban problems in the context of industrialization. Austen portrays two siblings from London, self-serving Crawfords, who neglect morality, and follow the philosophy of money, indirectly reflecting many of the city’s problems. In addition, the urban values gradually penetrate the country represented by Mansfield Park, and the characters in the novel are also affected, such as Maria eloping with Mr. Crawford and t

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