Academic literature on the topic 'History/drama collaboration'
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Journal articles on the topic "History/drama collaboration"
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Aspinall, Dana E., and Jeffrey Masten. "Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama." Sixteenth Century Journal 29, no. 3 (1998): 816. http://dx.doi.org/10.2307/2543705.
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MacLean, Sally-Beth. "Records of Early English Drama: A Retrospective." Renaissance and Reformation 37, no. 4 (April 30, 2015): 235–51. http://dx.doi.org/10.33137/rr.v37i4.22649.
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The Records of Early English Drama, founded in 1976, remains a productive humanities research project, with thirty-three volumes in print and two open access research and educational websites to date. This retrospective essay reflects on the individuals who contributed to its founding and evolution; the establishment of systematic research and editorial principles for an international team of contributors; the challenges of funding a collaborative enterprise with long term goals; some of its key contributions to the field of theatre history; and the transition from a print-based series to REED Online, a multi-faceted digital enterprise. In summary, while the re-envisioning of REED as an interoperable research and educational online resource represents a major shift in editorial and publication processes, the core values of the project remain intact: to work together in interdisciplinary collaboration with like-minded partners to deliver the results of systematic research in early theatre to as wide an audience as possible in the twenty-first century.
Le Records of Early English Drama, fondé en 1976, consiste toujours en un projet fructueux de recherche en sciences humaines, totalisant à ce jour 33 volumes imprimés et deux sites web ouverts de recherche et d’éducation. Cet article rétrospectif se penche sur les personnes ayant contribué à sa fondation et son évolution, l’établissement d’une systématique de recherche et de principes éditoriaux à l’intention d’une équipe internationale de contributeurs, les défis de financer un projet collectif avec des objectifs à long terme, quelques unes de ses principales contributions dans le domaine de l’histoire du théâtre, et la transition d’une publication imprimée vers le format REED Online, un projet numérique polyvalent. En effet, bien que la transformation du projet en une ressource collaborative REED de recherche et d’enseignement en ligne représente un changement majeur dans les processus éditoriaux et de publication, les valeurs centrales du projet demeurent inchangées : le projet vise toujours la collaboration interdisciplinaire avec des partenaires ayant la même approche afin d’obtenir des résultats de recherche systématique en histoire du théâtre, et à les rendre disponibles à un public aussi large que possible en ce vingt-et-unième siècle.
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Storey, Taryn. "Devine Intervention: Collaboration and Conspiracy in the History of the Royal Court." New Theatre Quarterly 28, no. 4 (November 2012): 363–78. http://dx.doi.org/10.1017/s0266464x12000668.
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Taryn Storey believes that a series of letters recently discovered in the archive of the Arts Council of Great Britain (ACGB) makes it important that we reassess the genesis of the English Stage Company at the Royal Court. Dating from November 1952, the correspondence between George Devine and William Emrys Williams, the Secretary General of the ACGB, offers an insight into a professional and personal relationship that was to have a profound influence on the emerging Arts Council policy for drama. Storey makes the case that in 1953 Devine not only shaped his Royal Court proposal to fit the priorities of the ACGB Drama Panel, but that Devine and senior members of the ACGB then collaborated to ensure that the proposal became a key part of Arts Council strategic planning. Furthermore, she puts forward the argument that the relationship between Devine and Williams was instrumental to new writing and innovation becoming central to the future rationale for state subsidy to the theatre. Taryn Storey is a doctoral student at the University of Reading. Her PhD thesis examines the relationship between practice and policy in the development of new writing in post-war British theatre, and forms part of the AHRC-funded project ‘Giving Voice to the Nation: The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945–1995’, a collaboration between the University of Reading and the Victoria and Albert Museum.
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Masten, Jeffrey A. "Beaumont and/or Fletcher: Collaboration and the Interpretation of Renaissance Drama." ELH 59, no. 2 (1992): 337. http://dx.doi.org/10.2307/2873346.
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Browder, Laura. "Sheep Hill Memories, Carver Dreams: Creating a Living Newspaper Today." Public Historian 26, no. 2 (2004): 73–80. http://dx.doi.org/10.1525/tph.2004.26.2.73.
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In November 2000, the living newspaper drama Sheep Hill Memories, Carver Dreams premiered to packed houses at Virginia Commonwealth University (VCU) in Richmond. This documentary play concerns the history and survival of Carver, a historically African- American working-class community bordering VCU which was being threatened by the university’s planned expansion. Performed by a Carver-based theater group with a twenty-seven-year history, in collaboration with TheatreVCU, Sheep Hill Memories, Carver Dreams was the outcome of a two-year collaboration between a grass-roots community organization and the university. As playwright and co-director of the two-year Carver Living Newspaper Project, I present the development of the project, its outcomes, and the challenges we faced along the way in creating the play.
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Plastow, Jane. "Theatre of Conflict in the Eritrean Independence Struggle." New Theatre Quarterly 13, no. 50 (May 1997): 144–54. http://dx.doi.org/10.1017/s0266464x00011003.
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Eritrea is a newly independent country whose performing arts history, based on the music and dance of her nine ethnic groups, is only just beginning to be systematically researched. Western-influenced drama was introduced to the country by the Italians in the early twentieth century, but Eritreans only began to use this form of theatre in the 1940s. The three-part series here inaugurated is the first attempt to piece together the history of Eritrean drama, beginning below with an outline of its history from the 1940s to national independence in 1991. The author explores the highly political role drama played from the outset in Eritrea's struggle towards independence and the effort to mould this alien performance form into a public voice at least for urban Eritreans. Later articles will look at the cultural troupes of the Eritrean liberation forces and at post-independence work on developing community-based theatre. The research took place as part of the continuing Eritrea Community Based Theatre Project, which is involved with practical theatre development as well as theatre research. Although this opening article is written by Jane Plastow, she wishes to stress that it is the upshot of a collaborative research exercise, for which Elias Lucas and Jonathan Stephanus were research trainees. Most of the information used here is the result of interviews they conducted and of translations of articles in Tigrinya or Amharic which they located. Training in interview techniques and collaboration over translation of material into English was conducted by the project research assistant, Paul Warwick. Jane Plastow is the director of the Eritrea Community Based Theatre Project and a lecturer at Leeds University. She initiated the project at the invitation of the Eritrean government, after working in theatre for some years in a number of African countries, notably Ethiopia. She supervised the research for this project, and used her experience of African theatre and of the politics and history of the region to draw the available material into its present state as a preliminary history of Eritrean drama.
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Lev-Aladgem, Shulamith. "Public Theatre, Community Theatre, and Collaboration: Two Case Studies." New Theatre Quarterly 26, no. 4 (November 2010): 369–82. http://dx.doi.org/10.1017/s0266464x10000679.
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In 1986 professional theatre practitioners working in two underprivileged neighbourhoods in greater Tel Aviv in Israel created in collaboration with the local residents two large-scale productions. In this article Shulamith Lev-Aladgem studies these rare encounters between professional public theatre and amateur, community-based theatre in Israel, employing a method similar to that of the historian who employs micro-history in order to reveal the excluded past of muted groups in a given society. Both productions – including the intentions of their creators and participants, the power struggles, and the results – serve as an historical record rich in information regarding Israeli society; and through the micro-history presented here the social and cultural role of the institutional theatre in general, and in Israel in particular, is also explored. Shulamith Lev-Aladgem is a senior lecturer, researcher, and practitioner, chair of the Faculty MA Program of Expressivity and Creativity in the Arts, and Head of Community-Based Theatre Studies in the Theatre Department of Tel Aviv University. She is also a community-based theatre facilitator/director and a trained actress who uses her acting experience in her research and teaching. Her recent publications include articles in Theatre Research International, Theory and Criticism, Social Identities, Israeli Sociology, and Research in Drama Education, and the full-length studies, Standing Front Stage: Resistance, Celebration and Subversion in Israeli Community-Based Theatre (Haifa University Press, 2010) and Theatre in Co-Communities: Articulating Power (Palgrave Macmillan, 2010).
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Cochrane, Claire. "The Contaminated Audience: Researching Amateur Theatre in Wales before 1939." New Theatre Quarterly 19, no. 2 (May 2003): 169–76. http://dx.doi.org/10.1017/s0266464x03000071.
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As concepts of nationhood and national identity become increasingly slippery, so the theatre historian attempting to recover neglected histories submerged within the dominant discourse of the nation state needs to be wary of imposing an ideologically pre-determined reading on the surviving evidence of performance practice and audience response. It is also important to acknowledge that theatre practice which represents the majority experience of national audiences does not necessarily conform to the subjective value judgements of the critic-historians who have tended to produce a limited, highly selective historical record. In attempting to re/write the history of twentieth-century British theatre Claire Cochrane has researched the hitherto neglected area of amateur theatre which was a widespread phenomenon across the component nations. Focusing in this article on the cultural importance of amateur theatre in Welsh communities before the Second World War, she explores the religious, socio-political, and topographical roots of its rapid expansion, and the complex national identities played out in the collaboration between actors and audience. Claire Cochrane lectures in drama and performance studies at University College Worcester. Her most recent book is Birmingham Rep: a City's Theatre, 1962–2002 (Sir Barry Jackson Trust, 2003). She is currently working on a history of twentieth-century British theatre practice for Cambridge University Press.
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Veksler, Asya F. "Ippolit Novsky and Vladimir Pollak: In Love with Theatre (Biographical Materials)." Observatory of Culture 16, no. 6 (December 30, 2019): 628–39. http://dx.doi.org/10.25281/2072-3156-2019-16-6-628-639.
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Ippolit Novsky and Vladimir Pollak are the names that will say nothing to modern theatergoers, and even those experts who know the theatrical past of our country well may hardly recollect them. Nevertheless, these two made their contribution to the development of Russian theatrical art. Educated, multi-talented, antiquity experts, they, unfortunately, did not leave any memoirs. Even their letters are almost not survived to our days. The Soviet history of the 1930s knows many similar examples. That time, when people had to destroy their priceless records, personal correspondence, their own memories, can be called the New Middle Ages. Unfortunately, that fully affected our heroes, especially V. Pollak, who was an assistant director in the V.F. Komissarzhevskaya Leningrad Drama Theater in the 1960s.Otherwise, we would surely know much more about their lives and companionship. And the people around them were more than worthy of our notice.Hereditary nobleman Ippolit Petrovich Semenovsky (pseudonym — Novsky) was a close friend of E.B. Vakhtangov and B.M. Sushkevich; together with the collaboration of B.M. Sushkevich and N.N. Bromley, he shared their Leningrad creative period. He played first in the Moscow Art Theater, and then on the stage of the A.S. Pushkin Leningrad State Academic Drama Theater, taught acting at the Central Theater School, in the workshops of B.M. Sushkevich and E.I. Time, and at the Karelian-Finnish Studio.During the siege of Leningrad, I.P. Novsky was working on the radio, and the works of Russian classics in his performance supported the strength and hope of the Leningraders. I.P. Novsky and V.M. Pollak had to go through many dramatic events, but they retained their devotion and deep love for the theater. They were among those inconspicuous but indispensable servants of Melpomene.
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Holiak, Tetiana. "Cooperation between I. Lyzanivskyi and M. Vozniak in preparing thirty-volume edition of Ivan Franko’s works." Слово і Час, no. 5 (October 2, 2020): 36–52. http://dx.doi.org/10.33608/0236-1477.2020.05.36-52.
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The paper clarifies the nature of collaboration between I. Lyzanivskyi and M. Vozniak during the preparation of the first multi-volume edition of Ivan Franko’s works (1924—1931). The study is based on the analysis of letters from the editor of the cooperative publishing house “Rukh”, now kept in Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. The preserved correspondence dates back to 1926—1929. The characteristics of the preliminary work for setting up the corpus of the writer’s critical works have been outlined. According to I. Lyzanivskyi’s plan, the first volume had to be ready for publication in the spring of 1927. The editor prepared a list of I. Franko’s critical works recommended for purchase and copying. As the use of the writer’s archive was impossible, the works were reprinted from the first and the last lifetime editions. Therefore, the stage of searching for the material was extremely important. F. Dudko assisted in copying the works. The preserved handwritten and typewritten copies from Ivan Franko archive in Shevchenko Institute of Literature show that the list of works was gradually extended. Some materials contain the notes and indications of the copyist and editorial corrections. However, due to unfavorable circumstances, the critical works were not included in the thirty-volume edition. Besides, according to the letters, the editor intended to publish the novel “Without Asking Where the Wade Is” (“Ne Spytavshy Brodu”), reconstructed by M. Vozniak, but it also remained unpublished. Instead, the novel “Lel and Polel” (“Lel i Polel”) was introduced to the readers for the first time. It was reconstructed and translated by M. Vozniak and set in the 30th volume of the edition. The collaboration of I. Lyzanivskyi and M. Vozniak to some extent prompted the scholar to study the history of Ivan Franko’s drama “Rowan” (“Horobyna”) and establish its main text. The research work was published in 1940 in the “Notes of Historical and Philological Faculties”.
Dissertations / Theses on the topic "History/drama collaboration"
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Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.
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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.
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Hill, Leslie Anne. "Theatres and friendships : the spheres and strategies of Elizabeth Robins." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17879.
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Victorian women used strategies that allowed them to not only work as actresses but also as directors, producers, translators, and playwrights, thus transforming theatre at the cusp of the New Drama. Female friendships were particularly integral to these strategies as women employed secretiveness and anonymity, charm and shrewdness, networking and collaborating in small and large groups to meet their creative and professional goals. Through these means of sociability women enlarged their spheres of influence beyond the stage. Elizabeth Robins is a superb example of these strategies, particularly when theatrical realism was her primary focus. Though she also collaborated well with men, William Archer and Henry James among them, it was Robins’s female friends who helped her to establish a London career. This project shows how Robins and her women friends contributed to the New Drama in dynamic, critical, and often-secret ways. Marion Lea and Robins finagled the rights to Hedda Gabler in 1891. Lea and Florence Bell helped Robins to translate plays for production and to develop new acting techniques suited to realism. After Lea left England, Robins and Bell joined Grein’s Independent Theatre Society to present their anonymously written protest play Alan’s Wife. These efforts illustrate the adaptive functions of female friendships. Through closer examination of their relationships, particularly the one Robins and Bell called a sisterhood, we see the nurturing functions of female friendships. This project explains some of the reasons why, despite being famous in their day, these women disappeared from history. It was not just because of male control of the theatre, but was also a product of their own desires to protect themselves. Secrecy had served them well in the 1890s, but their fame faded as even friends forgot them. Yet, since female socialization taught them to be group-focused, these women’s stories are highly pertinent to the history of the theatre, an art form that is collaborative by its nature. Through study of their work and their relationships, we can fill some gaps in theatre history, women’s history, and nineteenth-century history, adding resonance to their voices that may carry to coming generations.
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González, Robert M. Jr. "The Drama Of Collaborative Creativity: A Rhetorical Analysis Of Hollywood Film Making-Of Documentaries." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/266.
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Current creativity research is dominated by attention to the individual, with increasingly less attention paid to creativity in its context, in groups, and in filmmaking as a collaboratively creative enterprise. This study answers the research call to explore filmmaking as an exemplar for collaborative creativity. Utilizing the stories told on DVD extras on special edition releases of feature films, this study analyzes how collaborative creativity is storied. In turn, these stories reveal specific communication forms, practices, and strategies that enrich theoretical conceptions of collaborative creativity. Following dramatistic concepts elaborated by Kenneth Burke, this rhetorical analysis finds three emergent patterns of communication--mythic, historic, and symbolic--in the discourses of making-of-documentaries (MODs) that illuminate collaborative creativity.
As mythic patterns, MODs utilize the structure of the quest tale to organize the plot, drama, and rhetoric of collaborative creativity told in MODs. Audiences, then, are invited to re-experience the journey, and every MOD symbolically and ritually repeats and re-actualizes the cosmogony. As historic patterns, filmmakers converse in history with filmmaking predecessors, traditional industry practices, and present collaborators. Through their various roles as fans, critics, and memorialists, filmmakers renovate and commemorate film history, offering creativity theory criteria by which novelty is evaluated. As symbolic patterns, MOD discourse spotlights the metaphors filmmakers use to create collaborative environments and to characterize directors' performances. Together these metaphors create a guiding and habitable ideology for production work that improves upon "vision" as one guiding metaphor for creativity.
This analysis enriches theoretical accounts of creativity by approaching collaborative creativity obliquely, as space-off, and rhetorically, as inducements to success stories in organizations. Taking communication as central to collaborative creativity, this study offers three counter-statements to traditional conceptions of creativity: creativity is shared, not possessed; collaborative creativity emerges within human drama; and collaborative creativity lives and finds its meaning in performance.
Books on the topic "History/drama collaboration"
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Textual intercourse: Collaboration, authorship, and sexualities in Renaissance drama. Cambridge: Cambridge University Press, 1997.
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Joint enterprises: Collaborative drama and the institutionalization of the English Renaissance theater. Amherst: University of Massachusetts Press, 2004.
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Theatre as witness: Three testimonial plays from South Africa : in collaboration with and based on the lives of the original performers. London: Oberon Books, 2008.
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Rizk, Beatriz J. Creación colectiva, el legado de Enrique Buenaventura. Buenos Aires: Atuel, 2008.
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Enrique, Buenaventura, Buenaventura Enrique, and Vidal Jacqueline, eds. Creación colectiva, el legado de Enrique Buenaventura. Buenos Aires: Atuel, 2008.
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Rizk, Beatriz J. Creación colectiva, el legado de Enrique Buenaventura. Buenos Aires: Atuel, 2008.
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Hope, Jonathan. The authorship of Shakespeare's plays: A socio-linguistic study. Cambridge: Cambridge University Press, 1994.
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Laere, Stefaan van. Een klein dorp, een zware tol: Het drama van collaboratie en verzet in Meensel-Kiezegem. Antwerpen: Manteau, 2004.
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Finkelpearl, Philip J. Court and country politics in the plays of Beaumont and Fletcher. Princeton, N.J: Princeton University Press, 1990.
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Paul Claudel et la rénovation du drame musical: Etude de ses collaborations avec Darius Milhaud, Arthur Honegger, Paul Collaer, Germaine Tailleferre, Louise Vetch. Sprimont: Mardaga, 2004.
Find full textBook chapters on the topic "History/drama collaboration"
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Forrest, David, and Sue Vice. "Thatcherism and South Yorkshire." In Barry Hines. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784992620.003.0004.
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This chapter traces the effects of Thatcherism on Hines’s work, and on the region and communities he depicts. His screenplay for the 1981 film Looks and Smiles takes an art-cinematic form to explore the pressures of the era’s unemployment on young people, in his fourth and final collaboration with Ken Loach, while the unproduced play Fun City offers a blackly comic view of the era’s schooling. Unfinished Business (1983) examines the possibilities of social freedom for women, while 1984’s Threads is an exceptionally bleak documentary drama about the effects of nuclear war. Tracing the screenplay’s archival history reveals the detail of Hines’s aesthetic and political practice.
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Magerstädt, Sylvie. "what is the future of TV antiquity?" In TV antiquity, 194–204. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781784995324.003.0009.
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To conclude the exploration of sixty years of TV antiquity, this final section draws out some of the key aspects that run through the shows discussed in the book, such as the importance of serialisation and later syndication and collaboration in the development of TV antiquity; the new heroic ideal developed in these shows, combining domesticity and politics; and the marginalisation of religious practice in many of the programmes discussed. In addition, the conclusion also briefly examines the most recent shows such as Olympus (2015), Britannia (2017) and Troy: Fall of a City (2018) and suggests some of the possible directions for TV antiquity. Here, the most notable developments are a greater blend of history, myth and fantasy as well as the blurring of boundaries between documentary and fictional drama.