Relevant bibliographies by topics / Four Seasons Theatre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Four Seasons Theatre'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Four Seasons Theatre"

1

Anderson, Peter. "Breaking All Four Walls: Open-Air Theatre at the Caravan Farm." Canadian Theatre Review 76 (September 1993): 8–12. http://dx.doi.org/10.3138/ctr.76.002.

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Theatre began outdoors, around fires, celebrating important passages, acknowledging the cycles of nature and the changes of seasons, and affirming our sense of community and the essential mystery of life. By recognizing theatre’s roots in ritual – in community celebration – we re-establish connection with things larger than ourselves and are revitalized. It is to these roots that the Caravan Farm Theatre, located on an 80-acre farm five miles northwest of Armstrong in the heart of B.C.’s Okanagan farming district, seeks to return. Since 1983, the Caravan Farm Theatre, formerly the horse-drawn
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Lappo, Irina. "The Independent Belarusian Theater in Poland: Three Seasons in Exile." Studia Białorutenistyczne 18 (January 8, 2025): 193–222. https://doi.org/10.17951/sb.2024.18.193-222.

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The article is dedicated to Belarusian theatre in Poland following the 2020 protests. The author examines the repertoire of exile theatre, studies both quantitative and qualitative aspects of its functioning within a foreign culture and a market-based economy. Independent Belarusian theatre, destroyed, banned, and exiled from its homeland, has been reborn in Poland. Over the past three seasons (2021–2024), thanks to the solidarity of the people of Polish theatre and support of the Polish state in the form of a system of grants and residencies, several new theatre groups and creative associatio
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Molony, Martin G. "Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952." Estudios Irlandeses, no. 18 (March 17, 2023): 67–78. http://dx.doi.org/10.24162/ei2023-11392.

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In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. Th
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Gilbert, Reid. "Bard on the Beach in Vancouver: Twenty Years On." Canadian Theatre Review 140 (September 2009): 93–94. http://dx.doi.org/10.3138/ctr.140.019.

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The 2009 season marks the twentieth anniversary of one of Canada’s great theatre success stories — Bard on the Beach, in Vancouver. By any standard, Bard’s development from one show (Midsummer Night’s Dream) in a rented tent in 1990 to four plays in repertory in two spaces in 2009 is a remarkable history and one of which founder and artistic director Christopher Gaze (and his Board and colleagues) should be proud. What is as praiseworthy to me, however, is the contiguous artistic development of Bard performance; increasingly, over the past number of seasons, the shows have been original, innov
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Simas, Richard. "Vancouver’s PuSh 2008 and the Phenomenon of Festivals." Canadian Theatre Review 138 (March 2009): 43–47. http://dx.doi.org/10.3138/ctr.138.008.

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Montreal and Toronto are arguably Canadian arts festival capitals, boasting heady and never-ending streams of performing arts, film, jazz, winter, literary, new music and ethnic festivals and cultural-tourist events. However, it may be instructive to look thousands of kilometres due west to examine the PuSh International Performing Arts Festival, located in the booming Pacific Rim and 2010 Olympic host city of Vancouver. Guided by executive director Norman Armour and co-founded with local theatre director Katrina Dunn, “the PuSh Festival engages and enriches audiences with adventurous contempo
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Emeljanow, Victor. "Pleasure Gardens. Performing Arts Resources, vol. 21. Edited by Stephen M. Vallillo and Maryann Chach. New York: Theatre Library Association, 1998; pp. 105. $30 cloth; Their Championship Seasons: Acquiring, Processing, and Using Performing Arts Archives. Performing Arts Resources, vol. 22. Edited by Kevin Winkler. New York: Theatre Library Association, 2001; pp. 142. $30 cloth." Theatre Survey 45, no. 1 (2004): 133–35. http://dx.doi.org/10.1017/s0040557404290081.

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The annual publication of the Theatre Library Association is designed “to gather and disseminate scholarly articles dealing with the location of resource materials” relating to all media as well as popular entertainments, the evaluation of those resources, and to include as well “monographs of previously unpublished original material.” The volumes are slim ones, so we should not expect coverage of the many theatre collections available to scholars and practitioners, but rather a highly selective series of essays reflecting the priorities of the Association or of the individual volume editors.
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Lidington, Tony. "New Terms for Old Turns: the Rise of Alternative Cabaret." New Theatre Quarterly 3, no. 10 (1987): 107–19. http://dx.doi.org/10.1017/s0266464x00008605.

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It is ironic that interest in the roots of ‘alternative comedy’ is probably greater than ever before just as the most successful of its exponents are moving, in commercial terms, firmly into the mainstream. Perhaps that process is inevitable – and perhaps the drift into sitcoms and voice-overs does not matter so long as there remains a ferment of new activity, jostling for the less lucrative exposure of the smaller venues and the new cabaret circuit. The author of this survey, Tony Lidington, was himself in at the beginning of the ‘Pierrotters’ – which claims to be the first concert party to h
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MacArthur, Michelle. "The Pedagogy of Grief: Lessons from Making Zoom Theatre During a Pandemic." Canadian Theatre Review 188 (October 1, 2021): 49–53. http://dx.doi.org/10.3138/ctr.188.012.

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While the closure of theatres across Canada and around the world when the pandemic hit in March 2020 caused widespread feelings of loss amongst theatre practitioners and educators, the institutional pressures to find ways to survive and move on prevented many from processing their grief. This article examines The Stream You Step In (TSYSI), a series of four original Zoom plays co-produced by Outside the March and the University of Windsor in 2020, through the intersecting perspectives of pedagogy and grief. TSYSI was a response to grief on different levels: graduating students’ grief for their
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Craven, Ian. "Adaptation, Action, Response: ‘Four Horsemen of the Apocalypse’ at the Citizens Theatre, Glasgow." New Theatre Quarterly 8, no. 31 (1992): 203–20. http://dx.doi.org/10.1017/s0266464x00006837.

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Several of the novels of the Spanish writer Vicente Blasco Ibanez (1867–1928) have provided the basis for theatrical adaptations: but the version of The Four Horsemen of the Apocalypse (1916) by Peter Granger-Taylor, staged in March 1990 at the Citizens Theatre, Glasgow, was the first for sixty years. In the following feature, Ian Craven, who teaches in the Department of Theatre, Film, and Television Studies at the University of Glasgow, provides a full account of Jon Pope's production, considering questions of adaptation, performance, and response, and also paying special attention to the inf
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Wagner, Anton. "Infinite Variety or a Canadian 'National' Theatre: Roly Young and the Toronto Civic Theatre Association, 1945-1949." Theatre Research in Canada 9, no. 2 (1988): 157a. http://dx.doi.org/10.3138/tric.9.2.157a.

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The founding of the Civic Theatre Association in Toronto in 1945, and its four-season production history until 1949, provide a microcosm of the embryonic development stage of post-World War II indigenous Canadian theatre. Created through the merger of fourteen Toronto-area amateur companies under the leadership of the film and theatre critic Roly Young (1903-48), the CTA sought to finance adequate theatre facilities and to provide work opportunities and appreciative audiences for Canadian artists and playwrights. Young's opposition to the principle of government arts subsidies to create a Cana
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Dissertations / Theses on the topic "Four Seasons Theatre"

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Olmez, Husniye Nihan. "The Analysis Of Theatre Plays For Children Staged By The State Theatre And Private Theatres In 2008-2009 Theatre Season In Bursa." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611061/index.pdf.

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The aim of this study is to investigate theatre plays for children staged by the State Theatres and private theatre companies in one specific theatre season in Bursa in terms of their essential language, physical, educational, entertainment and social characteristics. More specifically, the present study examines appropriateness of theatre plays for children in term of these essential characteristics stated by the experts and also opinions of audiences, parents, teachers, and professionals gained by interviews. Twelve preschool children between the ages of 5 and 6, ten parents who had 5 or 6-y
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Earle, Jen. "Deployable Architecture: A Seasonal Theatre for the Halifax Commons." 2012. http://hdl.handle.net/10222/15220.

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This thesis is an exploration in deployable architecture, focusing on long span structural design. The application for the design will be a summer theatre for the Halifax Commons. The deployment of the structure will be for a five month duration, therefore important design considerations will be durability, waterproofing, as well as assembly, disassembly and storage.
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Books on the topic "Four Seasons Theatre"

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Menehira, Hazel. Three dramatic decades: Wanganui's Four Seasons professional theatre, 1970-2000. Friends of the Four Seasons Theatre, 2009.

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2

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., season 1899-1900, programme: Friday, December 8th, Otis Skinner and his company, including Miss Nanette Comstock, will present Henry Arthur Jones' new comedy in four acts, entitled "The liars" .. s.n., 1986.

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Grand Opera House (London, Ont.), ed. Programme, Grand Opera House, London, Ont.: Season 1898-9, Tuesday, May 23rd, engagement of Otis Skinner, presenting Rosemary, a comedy in four acts, by Louis N. Parker and Murray Carson .. s.n., 1986.

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4

Toneelhuis, ed. Zes memo's voor een nieuw seizoen = Six memos for a new season = Six propositions pour une nouvelle saison. Bebuquin, 2020.

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Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1897-98 : Friday night and Saturday matinee, the young romantic actor Mr. Donald Robertson and ...Miss Brandon Douglass in the romantic tragedy in four acts The man in the iron mask .. s.n., 1986.

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Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1898-9, wednesday and Thursday Sept. 21st and 22nd, the beautiful southern actress Miss Lorraine Hollis, supported by the Lorraine Hollis Stock Company, in the society melo-drama in prologue and four acts "The tigress" .. s.n., 1986.

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7

Garside, Emily. Seasons of Love. Globe Pequot, the trade division of The Rowman & Littlefield Publishing Group, Inc., 2023. https://doi.org/10.5040/9798765148006.

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With its groundbreaking score, unabashed romanticism, and scrappy sensibility, Rent was like a firecracker thrown into a hushed theater, turning heads and upending conventions. But if its unexpected success was the stuff of theatrical legend, the story of its making was a bittersweet one, with composer Jonathan Larson, a student of Sondheim's finally making his Off-Broadway debut, tragically dying on the night of the final dress rehearsal. Even decades later, Rent lives on as a warmly remembered chapter in Broadway history, yet the show is too often trivialized, reduced to parody, or dissected
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Hischak, Thomas. Song of the Season. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350423756.

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What links the popular songs "You'll Never Walk Alone", "Send in the Clowns", "Memory" and "I Am What I Am"? They all originated in Broadway musicals.Song of the Seasonis for those who believe that the score is at the heart of a musical and is the essential building block on which the rest of a show is built. Through a systematic historical survey from 1891 to 2023 it argues that the best musicals survive because of their songs, from early 20th century classics such asShow BoatandOklahoma!through to the contemporary sound ofDear Evan HansenandHamilton. looking at outstanding songs from each Br
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Pollack, Howard. The Golden Apple. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0018.

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One of Latouche’s masterpieces, the opera The Golden Apple, with composer Jerome Moross, reimagines the Judgment of Paris story and the Homeric epics through the prism of early-twentieth-century America. Hanya Holm directed, and William and Jean Eckart did the memorable designs. First premiering at the Phoenix Theatre off-Broadway, it moved to Broadway for a short run there. Although more a critical than a popular sucess—it won the Donaldson Award, the Page One Award, and the New York Critics’ Circle Award for the season’s best musical—it remains a favorite among connoisseurs of American music
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Jeffs, Kathleen. Staging the Spanish Golden Age. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819349.001.0001.

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This book offers first-hand experiences from the rehearsal room of the Royal Shakespeare Company’s 2004–5 Spanish Golden Age season in order to put forth a collaborative model for translating, rehearsing, and performing Spanish Golden Age drama. Building on the RSC season, the volume proposes translation and communication methodologies that can feed the creative processes of working actors and directors, while maintaining an ethos of fidelity with regards to the original texts. A successful theatrical ensemble thrives on the mingling of these different voices directed towards a common goal. Th
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Book chapters on the topic "Four Seasons Theatre"

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Bennett, Michael Y. "Conclusion: For All Seasons—The Particulars and the Universals of Man in Bolt’s A Man for All Seasons." In Narrating the Past through Theatre. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137275424_5.

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Saunders, Graham. "“A Shop Window for Outrage”: Harold Pinter’s Ashes to Ashes, In-Yer Face Theatre and the Royal Court’s 1996 West End Season." In After In-Yer-Face Theatre. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_3.

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Wadleigh, Paul. "Staging Mid-Victorian Drama: Four Seasons at Pullman’s Summer Palace." In Nineteenth Century British Theatre. Routledge, 2015. http://dx.doi.org/10.4324/9781315681443-ch-4.

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Bordman, Gerald. "1951-1952." In American Theatre: A Chronicle of Comedy and Drama, 1930-1969. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195090796.003.0022.

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Abstract Quantitatively the number of novelties held steady in the new season. But although the Daily News’s John Chapman, writing as editor of the Best Plays series, thought the theatrical year had been “not too bad,” he acknowledged that his colleagues generally put a less kind value on it. The public apparently agreed with the dissenters. Only one play ran for more than a year, and only four others ran even six months, with one of these, Gigi, still ending up in the loss column despite 219 performances. Seasons rarely got off to flying starts, and this season was no exception. Echoing one o
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Bordman, Gerald. "1936-1937." In American Theatre: A Chronicle of Comedy and Drama, 1930-1969. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195090796.003.0007.

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Abstract In the wake of so generally acclaimed a season as 1935- 36, it could hardly be hoped that the new theatrical year would be as rewarding. It was not. Most sadly, there was a noticeable drop in quality. Moreover, the decrease in the number of new plays produced, which had begun with the coming of the Depression, had leveled off for a few seasons, then had resumed last year, continued. As usual, counts varied, with the Times, apparently excluding Federal Theatre Project offerings, tallying eighty-three and Variety, more inclusive, ninety-four. The reasons for both drops-numbers and quali
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Price, Curtis, Judith Milhous, and Robert D. Hume. "Opera under Gallini (1785–1790)." In Italian Opera in Late Eighteenth-Century London. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198161660.003.0006.

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Abstract The four seasons between 1785 and the destruction of the King’s Theatre in June 1789 were operatically the best of any during the last two decades of the eighteenth century. London came closer to being pre-eminent in Italian opera than at any time since the 1720s. No wonder Mozart and Haydn both had hopes of crossing the Channel.
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Price, Curtis, Judith Milhous, and Robert D. Hume. "Opera under Taylor and his Trustees (1781–1785)." In Italian Opera in Late Eighteenth-Century London. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198161660.003.0005.

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Abstract Few periods in the history of the King’s Theatre can match the four seasons between 1781 and 1785 for managerial chaos and artistic indirection. The emergence of William Taylor in autumn 1781 as the principal proprietor in succession to Sheridan and the series of unmitigated financial disasters that followed have already been discussed in Chapter 2. Their effect on opera production was not, however, straightforward and did not prove immediately disastrous.
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Bordman, Gerald. "1965-1966." In American Theatre: A Chronicle of Comedy and Drama, 1930-1969. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195090796.003.0036.

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Abstract The parade of disappointing seasons continued. Only somewhere between thirty-three and thirty-eight new opened at the Shubert on May 3, remained before the footlights for only six weeks. plays opened, and the few truly memorable works all came from overseas. Neither the Pulitzer committee nor the Drama Critics Circle bestowed their awards on any native effort. In the former instance, it meant that no Pulitzer Prize had been awarded in three out of the last four seasons. If things were bad onstage, playgoers occasionally found some small relief at the box office, where a cut in the tax
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Bordman, Gerald. "1872–1873." In American Theatre. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195037647.003.0004.

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Abstract Although contemporary observers might not have agreed with the conclusion, the 1872-73 season seems one of transition. Of course, the view comes from the vantage of more than one hundred years, and the transition was quiet if steady. Yet change was everywhere. That ever present terror of the era, fire, which had destroyed Niblo’s late in the preceding season, blazed anew this year, removing forever the failing Lina Edwin’s Theatre (recently converted to minstrelsy) and gutting Daly’s Fifth Avenue (scarcely daunting the intrepid Daly and his determined band). The other side of the coin
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Bordman, Gerald. "1894–1895." In American Theatre. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195037647.003.0026.

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Abstract Except possibly for the succession of marvelous seasons that so rightly excited theatregoers beginning about the time of World War I, great theatrical years rarely follow one another. Coming after the brilliant showing made by the previous season, 1894-95 was no exception. True, two of the best 19th-century English comedies had their New York debuts, and England also sent over some other good plays and noteworthy players, one of whom gave producer-star, Sadie Martinot, told the cast she could not pay their salaries.
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Conference papers on the topic "Four Seasons Theatre"

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Mondal, Debalina. "Murder as a Theatrical Performance: Problematising the Figure of the Female Serial Killer in The Limehouse Golem." In 5th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2024. http://dx.doi.org/10.62422/978-81-968539-1-4-063.

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Villanelle from Luke Jennings’ Codename Villanelle (2017) has received tremendous appreciation which has led to four successful seasons of its television adaptation, Killing Eve (2018-2022). The insane popularity of X and Pearl, featuring Mia Goth as a ghastly murderer in the 2022 movies, justifies society’s current obsession with female serial killers. Similarly, Juan Carlos Medina’s 2018 murder mystery, The Limehouse Golem, adapted from Peter Ackroyd's Dan Leno and the Limehouse Golem (1994) features a female murderer situated in 19th century London. Elizabeth Cree played by Olivia Cooke is
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2

Shoop, S., A. Sopher, J. Stanley, T. Botha, C. Becker, and S. Ells. "DIGITAL IMAGE CORRELATION FOR OFF-ROAD MOBILITY." In 2024 NDIA Michigan Chapter Ground Vehicle Systems Engineering and Technology Symposium. National Defense Industrial Association, 2024. http://dx.doi.org/10.4271/2024-01-3615.

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<title>ABSTRACT</title> <p>Digital Image Correlation (DIC) technology developed for off-road vehicle dynamics at the University of Pretoria, South Africa, was recently assessed for all-season and all-terrain viability through a Foreign Technology Assessment Support (FTAS) program at the US Army Engineer Research and Development Center-Cold Regions Research and Engineering Laboratory (ERDC-CRREL) in Hanover, New Hampshire (NH). Advancements in camera technology have brought on the proliferation of inexpensive, high resolution and high frame-rate cameras. At the same time the i
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Reports on the topic "Four Seasons Theatre"

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Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, 2023. http://dx.doi.org/10.23889/sureport.65084.

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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts
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