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Journal articles on the topic 'Cafe-theatre'

Author: Grafiati
Published: 5 June 2025
Last updated: 2 August 2025

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1

Cole, Susan G. "Rediscovering Cafe Theatre." Canadian Theatre Review 44 (September 1985): 17–21. http://dx.doi.org/10.3138/ctr.44.004.

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Every generation has had them: playwrights, actors, and performers with no work, theatres, or financial support – artists with very little but the feeling of being entirely disenfranchised. For some of them, the substance of their theatrical vision has kept them marginalized. Others have lacked the financial and political clout required to mount productions of their own. Most of them have compromised, jobbing themselves out to the so-called legitimate stage, all the while wishing they could exchange their earnings for a way to express themselves using their own voices.
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2

Jacobson, Rose. "Cosmopolitiks in the Age of LOON." Canadian Theatre Review 76 (September 1993): 65–66. http://dx.doi.org/10.3138/ctr.76.015.

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One of my favourite moments at LOON Cafe was the spectacle of five Toronto theatre critics conjuring up instant reviews before a live audience of actors, writers, and theatre directors. It wasn’t just the fantasy of every performer there to witness a moment of mutual vulnerability between critic and artist. It was yet another indication of a genuine movement within Toronto’s theatre community to “deregulate” the boundaries of theatre art.
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3

Watts, Allan, and Jim Plaxton. "Sculptured Spaces." Canadian Theatre Review 70 (March 1992): 54–59. http://dx.doi.org/10.3138/ctr.70.012.

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4

Brown, Clois. "Power in the Performers’ Hands." Canadian Theatre Review 87 (June 1996): 28–30. http://dx.doi.org/10.3138/ctr.87.009.

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In the past ten years, Resource Centre for the Arts (RCA) Theatre Company has premiered over fifty new plays. Among them, Young Triffie’s Been Made Away With (1985), recently produced and toured by Ship’s Company; Catlover (1990), also produced by Tarragon Theatre and by the Stephenville Festival; Flux (1991), also produced by Eastern Front Company, Live Bait, and as part of the film, The Hall Trilogy; Possible Maps (1991), also produced by Tarragon and published by Coach House Press; Hanlon House (1991), also produced for film as a part of The Hall Trilogy; Time Before Thought (1991), also pr
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5

Wallace, Robert. "Alternatives: An Introduction." Canadian Theatre Review 44 (September 1985): 4. http://dx.doi.org/10.3138/ctr.44.fm.

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Although theatrical forms such as cabaret, dinner theatre, Theatresports, and cafe performance differ greatly among each other, they have one characteristic in common: all reject the formal relationship of audience to performer that typifies traditional theatre. This is signified by the greater intimacy evident in the organization of the performance spaces used by most of these forms. The audience, besides being closer to the performers, often is seated in small groups, sometimes eating, drinking, and smoking. The relaxed relationship with each other fosters a more informal attitude to the per
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6

Babbage, Frances. "The Past in the Present? A Response to Stan's Cafe's Revival of ‘The Carrier Frequency’." New Theatre Quarterly 16, no. 1 (2000): 97–99. http://dx.doi.org/10.1017/s0266464x0001349x.

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The premiere of The Carrier Frequency took place in 1984, the result of a collaboration between Leeds-based Impact Theatre Cooperative and the novelist Russell Hoban. Impact was founded in 1978 by Claire MacDonald, Pete Brooks, Steve Schill, Graeme Miller, Tyrone Huggins, and Richard Hawley, with Nikki Johnson and Heather Ackroyd joining in subsequent years. Many companies since have cited Impact as a major inspiration, with The Carrier Frequency in particular achieving almost mythic status. Today, Impact has long since disbanded, and little documentation of their work remains to enable their
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7

Gerhard, J. "Lady Dicks and Lesbian Brothers: Staging the Unimaginable at the wow Cafe Theatre." Journal of American History 98, no. 3 (2011): 909–10. http://dx.doi.org/10.1093/jahist/jar354.

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8

Bennett, Melanie. "A Car Bomb at Yonge-Dundas Square." Canadian Theatre Review 126 (March 2006): 124–26. http://dx.doi.org/10.3138/ctr.126.027.

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Opening in the spring of 2003, Yonge-Dundas Square has become Toronto’s Times Square, bombarding pedestrians with flashy LED screens that promote a lifestyle beyond means and boasting TO TIX, a last-minute discount ticket vendor. With attractions such as Toronto Eaton Centre and Hard Rock Cafe, the intersection of Yonge and Dundas is Toronto’s number one visitor destination (see “History”). This location is the ideal setting for a car bomb; at least, that’s what Montreal artists and founders of ATSA, Pierre Allard and Annie Roy — with the cooperation of the Theatre Centre, Saw Video and Galeri
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9

Graham, Catherine. "Views & Reviews." Canadian Theatre Review 110 (March 2002): 88. http://dx.doi.org/10.3138/ctr.110.019.

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In this issue, three different contributors discuss how our perceptions of theatre and of the world are governed by the organization of bodies in space, whether geographic, scenographic or imaginary. Guy Sprung opens with an interesting overview of his company’s experience as the only North American company from north of the Mexican border participating in the Cairo International Festival for Experimental Theatre in early September of this year. Through his discussion of his initial impressions of Cairo, of the organization of the festival and of the plays presented by some of the Arab compani
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10

Cahyadi, Ady, and Anwar Salahuddin. "ANALISIS BUSINESS MODEL CANVAS PADA SYAHIDA INN DALAM MENCARI ALTERNATIF STRATEGI BISNIS BADAN LAYANAN UMUM UIN SYARIF HIDAYATULLAH JAKARTA." KEUNIS 10, no. 1 (2022): 100. http://dx.doi.org/10.32497/keunis.v10i1.3221.

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<p><em><span lang="EN-US">The development of the hotel sector in the pandemic covid-19 currently decrease so as prosecuting the business doers to survive and grow the business including Syahida Inn as a business units of Syarif Hidayatullah Jakarta The State Islamic University (UIN Jakarta). Therefore it is need of a business model exact to Syahida Inn knows how to run effectively, efficient, and economical. The purpose of this research is to develop the business model in the future. The kind of research is descriptive qualitative with bussiness model canvas (BMC) and strengh
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11

Wilson, Harry. "Mark Crossley and James Yarker Devising Theatre with Stan's Cafe London: Bloomsbury, 2017. 280 p. £21.99. ISBN: 978-1-4742-6704-5." New Theatre Quarterly 34, no. 2 (2018): 198–99. http://dx.doi.org/10.1017/s0266464x18000155.

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12

Farruh, EGAMBERDIYEV. "CONCEPTUAL SOLUTIONS FOR CREATING AN IMAGE ON THE STAGE." Crossroads of culture 4, no. 1 (2022): 4–8. https://doi.org/10.5281/zenodo.6629309.

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Any work of art needs a viewer, listener and reader who understands it, aesthetically enjoys and appreciates it. Without them, any work of art becomes "dead capital particular, theatrical performances and concerts cannot exist without spectators. Because their indirect impact creates an invisible connection between the viewer and the performer.
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13

Urian, Dan. "The Image of the Arab in Israeli Theatre—from Competition to Exploitation (1912–1990)." Theatre Research International 17, no. 1 (1992): 46–54. http://dx.doi.org/10.1017/s0307883300015601.

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The Arab, as presented in plays of the early days of settlement, is linked by his manual labour to the land of his birth. He might be primitive and his encounter with the chalutzim may be necessary to improve his situation and show him how the world has progressed, but he is also an example to be copied for his sheer work capability. He is seen as a powerful competitor with the Jewish work-force, due both to his ability to be content with little and to his forced acceptance of meagre wages. Towards the end of this period and for several decades afterwards, the Arab was pushed aside into the fr
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14

Hall, Jay. "Editorial." Queensland Archaeological Research 13 (December 1, 2002): ii. http://dx.doi.org/10.25120/qar.13.2002.63.

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This 13th issue of QAR contains an edited collection of conference papers concerning archaeological work in southeast Queensland. Unlike most such volumes, which normally represent the outcome of a conference or conference session, this one was actually planned before the conference was conceived. Aware that well over a decade had passed since an issue of QAR had been devoted to this archaeologically-industrious part of Queensland (Volume 5), I had been considering another for 2001 or2002 that could provide a vehicle for publishing accumulated knowledge locked up in theses and reports. However
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15

"Lady dicks and lesbian brothers: staging the unimaginable at the WOW Cafe Theatre." Choice Reviews Online 48, no. 09 (2011): 48–4998. http://dx.doi.org/10.5860/choice.48-4998.

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16

Sheridan, Alison, Jane O'Sullivan, Josie Fisher, Kerry Dunne, and Wendy Beck. "Escaping from the City Means More than a Cheap House and a 10-Minute Commute." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1525.

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IntroductionWe five friends clinked glasses in our favourite wine and cocktail bar, and considered our next collaborative writing project. We had seen M/C Journal’s call for articles for a special issue on ‘regional’ and when one of us mentioned the television program, Escape from the City, we began our critique:“They haven’t featured Armidale yet, but wouldn’t it be great if they did?”“Really? I mean, some say any publicity is good publicity but the few early episodes I’ve viewed seem to give little or no screen time to the sorts of lifestyle features I most value in our town.”“Well, seeing a
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