Relevant bibliographies by topics / Keith's Theatre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Keith's Theatre'

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

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Journal articles on the topic "Keith's Theatre"

1

Cahill, Dennis, and Deborah lozzi. "Theatresports / 1: Loosening." Canadian Theatre Review 44 (September 1985): 30–36. http://dx.doi.org/10.3138/ctr.44.006.

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In 1976 Keith Johnstone and a group of his students formed the Secret Impro Group to perform noon-hour shows at the University of Calgary. The following summer they regrouped to form The Loose Moose Theatre Company which is currently at the forefront of the theatrical activity known as Theatresports. Loose Moose was created with specific goals, namely to create a theatre with a distinctly Canadian identity based on Keith Johnstone’s techniques of improvisation, a theatre that relies on and develops the skills of local performers and talents, that is affordable as well as responsible and access
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2

Gallasch, Keith. "Promise and Participation: Youth Theatre in Australia." New Theatre Quarterly 2, no. 5 (1986): 90–93. http://dx.doi.org/10.1017/s0266464x00001950.

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If theatre-in-education achieved its impact by taking theatre to the young in the 'seventies, then the developing youth theatre movement might be seen as part of the reaction to that initiative in the 'eighties. Here Keith Gallasch, artistic director of the State Theatre Company in South Australia, himself a writer, recalls his first involvement with youth theatre, and goes on to sketch some of its dilemmas and prospects.
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Garebian, Keith, and Meg Westley. "William Hutt: A Theatre Portrait." Canadian Theatre Review 62 (March 1990): 81–82. http://dx.doi.org/10.3138/ctr.62.013.

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In his foreword to William Hutt: A Theatre Portrait, Keith Garebian states that his book is intended to be a “theatre portrait rather than a full fledged biography,” its specific aim being to “determine what has made Hutt the kind of actor he is today.” This statement of purpose is welcome, for it suggests that Garebian will focus specifically on Hutt as an actor, analyzing the relationship between the man and his work, and offering insights into his art.
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Johnston, Denis W., and Harry Lane. "Up the Mainstream: The Rise of Toronto’s Alternative Theatres, 1968-1975." Canadian Theatre Review 77 (December 1993): 79–81. http://dx.doi.org/10.3138/ctr.77.013.

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One of the most endearing qualities of Up the Mainstream is its rich collection of colourful anecdotes about the creators of Toronto’s alternative theatres in the late 60s and 70s. Some of the stories are merely trivial: in 1969 Chris Brookes’s company “blithely” cut a hole in the floor of Trinity Square Church Hall (53); for NDWT’s one-day performance of Reaney’s entire Donnelly trilogy in 1975, Mallory Gilbert “organized a huge gourmet lunch” (246). Some are merely fanciful: in summer 1969 “it seemed like everyone was falling in love” (61). But there is also useful detail about the early car
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Paul, Abigail. "Incorporating theatre techniques in the language classroom." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 2 (2015): 115–24. http://dx.doi.org/10.33178/scenario.9.2.8.

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The following workshop was presented at a Foreign Language and Drama Conference at the University of Reutlingen on July 10, 2015. It outlines the use of improvisational theatre techniques in the foreign language classroom by making parallels between the communicative approach to language learning and improvisational theatre techniques learned in various books read and seminars attended by the author throughout the years in numerous cities, but predominantly with Second City Chicago1, iO Chicago2, Keith Johnstone, and Comedy Sportz3. As Friederike Klippel states, “activities are invented, but w
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Bradby, David. "The Playwright in the French Theatre — A Reply to Keith Gore." Theatre Research International 16, no. 2 (1991): 128–41. http://dx.doi.org/10.1017/s0307883300010233.

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Keith Gore's article ‘The Playwright in an institutionalized theatre’ (TRI, vol. 15, no. 2, Summer 1990) paints a dismal picture of the state of affairs in France at the end of the 1980s. Gore claims that the French playwright is an endangered species, the victim of predatory directors whose uncontrolled lust for power has weakened and impoverished the whole institution. Gore is able to support his claims with an impressive array of statistics and his article must be welcomed for making these available to English readers and for raising what is an important subject for debate. He was greatly h
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Frey, Heather Fitzsimmons. "Intercultural Bodies: The Forbidden Phoenix and ANIME in Edmonton." Canadian Theatre Review 139 (July 2009): 43–49. http://dx.doi.org/10.3138/ctr.139.006.

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From 2001 to 2008, Edmonton was the site of two very different intercultural theatre projects. The Forbidden Phoenix by Marty Chan and Robert Walsh looked to American musical theatre and traditional Peking Opera for aesthetic inspiration, while ANIME by Keith Wyatt drew from feudal Japan and a contemporary, Japanese, anime version of an apocalyptic near future. In conversations with members of the artistic teams, I learned about their decision to create and their struggles with making story, music and mise-en-scène choices, but what fascinated me the most was how the projects dealt with the pe
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Barroso, Tomaz. "Repetição e espontaneidade." Conceição/Conception 11 (September 21, 2022): e022004. http://dx.doi.org/10.20396/conce.v11i00.8668827.

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O presente artigo possui como tema o diálogo entre as pedagogias dos professores Sanford Meisner e Keith Johnstone. Pretende-se demonstrar como o conceito e a aplicação prática da repetição, tal como trabalhada pelo primeiro, pode ser um meio de promover a espontaneidade, na acepção do segundo. Essa proposta é baseada nas obras On Acting, de Meisner, e Impro - Improvisation and the Theatre, de Johnstone, bem como em outras fontes bibliográficas que servirão como suporte.
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Smith, J. Percy. "Keith Garebian. George Bernard Shaw and Christopher Newton: Explorations of Shavian Theatre." Theatre Research in Canada 15, no. 1 (1994): 114–15. http://dx.doi.org/10.3138/tric.15.1.114.

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Hall, Kim F. "American Moor by Keith Hamilton Cobb at the Phoenix Theater." Shakespeare Bulletin 34, no. 3 (2016): 524–28. http://dx.doi.org/10.1353/shb.2016.0045.

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Dissertations / Theses on the topic "Keith's Theatre"

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McLeod, Cory. "The use of Keith Johnstone's concepts of 'Circles of Expectation' and Vogler's generic story structure as directorial aids in comedy theatre." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/13899.

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Includes bibliographical references.<br>The area of research the author of this written submission has investigated is directing comedy theatre. The research problem dealt with in the research was the use of Keith Johnstone's concept of 'Circles of Expectation' and Vogler's generic story structure as directorial aids in comedy theatre. The method with which the research problem was explored was through writing and directing a comedy with UCT Drama Students entitled Image! The play opened at The Standard Bank National Arts Festival in Grahamstown on 1 June 2000 and later opened at The Arena The
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Garrett, Yanis. "Offer, Accept, Block, Yield: the poetics of open scene additive improvisation." Faculty of Education and Social Work, 2006. http://hdl.handle.net/2123/1901.

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Master of Philosophy<br>This single case study examines the way that Johnstone’s (1981) Impro ‘Poetics’ are being used in the contemporary practice of Open Scene Additive Improvisation (OSAI). Johnstone’s Poetics have become a ubiquitous part of contemporary drama improvisation parlance, yet they have never themselves been the subject of any academic examination. This study attempts to fill that void by looking at their use in Open Scene Impro, the purest form of theatre improvisation (since OSAI relies on no structures other than the audience suggestion around which to improvise a ‘Scene’.)
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Robins, Gavin. "Moving the actor : towards an holistic approach to training and devising for performance." Thesis, Queensland University of Technology, 2002.

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The purpose of this study is to understand holistic, practical methods of training and devising for physical performance. The research conducted in this thesis is designed to uncover insights into the training and devising mechanisms of my substantial experience with leading physical theatre company Legs on the Wall. In order to understand the training and devising mechanisms of Legs on the Wall I have presented a selected history of the company from their formation in 1983 to 2000. This historical overview traces major influences on the group as well as the type of training and devising the c
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Keith, Caleigh M. "The Spirit of the Spitfire: Creating the Role of Nancy Shedman in Romulus Linney's "Holy Ghosts"." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1593.

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This thesis explains the acting method used by Caleigh Keith while portraying the role of Nancy Shedman in Romulus Linney’s Holy Ghosts. Included are chapters of historical research, character analysis, and a production report, which includes a scored script, rehearsal and performance journal, and a self-evaluation of the actor’s work. Holy Ghosts was produced by Theater UNO at the University of New Orleans in the Robert E. Nims Thrust Theater of the Performing Arts Center. It opened Tuesday, February seventh, and ran through Sunday, February twelfth, two thousand and twelve. Evening performan
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Hunter, Mark Dolan Jill. "Theatrical wonder." 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1578/hunterm00223.pdf.

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Hunter, Mark. "Theatrical wonder." Thesis, 2005. http://hdl.handle.net/2152/1578.

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Urban, Jan. "Improvizační divadlo - divadelní sporty v České republice." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-298684.

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This thesis focuses on the Theatresports as a general category of improvisational theatre. Theoretically analyses their structure in terms of theatre studies and interprets the principles of this specific approach to theatre production, deals with their history and development, also is trying to establish a suitable theoretical and conceptual apparatus for them. It also reflects the decade of work of Theatresports in the Czech Republic, summarizes their characteristics and places them in context with other selected speeches theatrical improvisation on the Czech scene. Keywords: Theatresports,
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Books on the topic "Keith's Theatre"

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Langergräber, Keith. Keith Langergraber: The theatre of the exploding sun. Kelowna Art Gallery, 2013.

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2

Hlushko, Stanislav. The System of Theatrical Improvisation: Ukrainian publisher presents the essay "The system of theatrical improvisation,” a result of ten-year experience of actor Stanislav Hlushko in the "Black Square" theater, Kiev. Improvisation by itself is not a novelty. It is known from performances of the antiquity by strolling comedians, Commedia dell'arte performers in Italy... A myth was created that improvisation should be prepared, and there is no other way. In the middle of the last century, Viola Spolin and Keith Johnstone began to develop improvisation techniques… This book describes a fundamentally different approach to improvisation, free of any restrictions. Systematically described are the basic laws of existence of an actor in spontaneous improvisation, fundamentals of improvisational dialogue, structural improvisation, and various playing situations. Dmytro Strelbytskyy, 2014.

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Ammen, Sharon. Never Were There Such Devoted Sisters. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040658.003.0002.

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This chapter traces May Irwin’s life from her early move from Canada to America in a vaudeville act with her sister, Flo Irwin. Her apprenticeship with Tony Pastor is reviewed in detail, as is her subsequent split with Flo to work with Augustin Daly. Daly represented a new kind of manager-director in American theatre who used nineteenth century notions of realism on the stage. Irwin’s combined natural ability and technical training assisted her rise to stardom when she left Daly’s company for financial reasons. The chapter considers factors contributing to 1890s theatre growth, the emergence o
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A Guide to Keith Johnstone's Gorilla Theatre (2) (Iti Format Guides). International Theatresports Institute, 2017.

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5

Davis, Jed H. Theatre Education: Mandate for Tomorrow : A Monograph by Eight Leaders of the American Theatre : Oscar G. Borckett, Keith M. Engar, Gregory A. Falls. Anchorage Pr Plays, 1985.

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Wertheim, Arthur Frank. Vaudeville Wars: How the Keith-Albee and Orpheum Circuits Controlled the Big-Time and Its Performers (Palgrave Studies in Theatre and Performance History). Palgrave Macmillan, 2006.

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Janney, Caroline E., ed. Petersburg to Appomattox. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640761.001.0001.

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The last days of fighting in the Civil War's eastern theater have been wrapped in mythology since the moment of Lee's surrender to Grant at Appomattox Court House. War veterans and generations of historians alike have focused on the seemingly inevitable defeat of the Confederacy after Lee's flight from Petersburg and recalled the generous surrender terms set forth by Grant, thought to facilitate peace and to establish the groundwork for sectional reconciliation. But this volume of essays by leading scholars of the Civil War era offers a fresh and nuanced view of the eastern war's closing chapt
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Something Written In The State Of Denmark An Actors Year With The Royal Shakespeare Company. Oberon Books, 2010.

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Book chapters on the topic "Keith's Theatre"

1

Hunter, Lynette. "Constellation: Engaging with Radical Devised Dance Theatre: Keith Hennessy’s Sol Niger." In Performance, Politics and Activism. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137341051_9.

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2

Gooch, Bryan N. S., and David Thatcher. "All’s Well that Ends Well." In A Shakespeare Music Catalogue. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129417.003.0001.

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Abstract II. Adams, James Alan. [—]. MS [I 980 ]. Incidental music: [2 tpt, perc, vln, vcl, pf]. First performed B. Iden Payne Theatre, University of Texas at Austin, 14 November r980 (Sean Henningan, Bertram; Marcia Hardin, Helena; James Coate, Lavatch; Mark Watley and Keith McGuire, tpts; Carlos Torrez, perc; Neela Kinariwala, vln; Mark Holt, vcl; Vickie Bibro, pf; Kathleen Conlin, director). II. Amram, David. [—]. MS [1966 (composer)]. Incidental music: [ch orch]. First performed New York Shakespeare Festival, Delacorte Theater, Central Park, [8] June 1966 (Richard Jordan, Bertram; Barbara
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Harker, Brian. "Buck and Bubbles." In Sportin' Life. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197514511.003.0004.

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This chapter recounts how Bubbles came together with pianist Buck Washington to form the vaudeville team of Buck and Bubbles. They met in Louisville in late 1917, after the United States had entered World War I. With wartime contingencies crippling Black theaters, Buck and Bubbles began their entertaining career at the bottom, in saloons, corner stores, truck beds, and hotel dining rooms, performing for white patrons. They briefly joined a third entertainer to appear as the Three Ink Spots. For a few months Bubbles went on the road with a carnival troupe. After he returned to Louisville, he an
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Corson, Keith. "Tyler Perry, T.D. Jakes, and the Birth of Gospel Cinema." In From Madea to Media Mogul. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496807045.003.0003.

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Since Perry’s plays share with his film production a similar thematic focus on Christian morality, Keith Corson’s contribution to this collection charts the rise of regional theatre and the translation of the financial, aesthetic, and political model of “gospel theatre’s” urban circuit to the multiplex. In the process of identifying the evangelical influences of some contemporary African American films, which Corson calls “gospelcinema,” the chapter compares Perry’s films with televangelist T.D.Jakes’s in order to argue that their films have helped reshape notions of a Black film audience. Gos
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Gooch, Bryan N. S., and David Thatcher. "Cymbeline." In A Shakespeare Music Catalogue. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129417.003.0006.

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Abstract 2432 Alpaerts, Flor. — MS 1938 (CeBeDeM [B 173/16u]). Incidental music: bar solo, fl, ob, cl, bsn, 2 hn, 2 tpt, perc (I player for dr, cym, trg), stgs. The MS also contains a pf reduction. 2433 Applebaum, Louis. —. MS [1986). Incidental music. First performed Stratford Shakespearean Festival, Festival Theatre, Stratford, ON, r August 1986 (Eric Donkin, Cymbeline; Martha Burns, Imogen; Benedict Campbell, Cloten; Keith Thomas, Guiderius; Brent Stait, Arviragus; Robin Phillips, director).
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RILEY, ALEXIS. "Keith Johnstone: A Critical Biography. By Theresa Robbins Dudeck. London: Bloomsbury Methuen Drama, 2013. pp. 232. $25.95 cloth." In Theatre History Studies 2015, Vol. 34. University of Alabama Press, 2015. https://doi.org/10.2307/jj.30346901.28.

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JOYCE, VALERIE. "The Making of Cabaret. 2nd ed. By Keith Garebian. New York, NY: Oxford University Press, 2011. pp. xiv + 232. $19.95 paper." In Theatre History Studies 2015, Vol. 34. University of Alabama Press, 2015. https://doi.org/10.2307/jj.30346901.19.

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Hayes, Kevin J. "The Lair of the Green Dragon." In Undaunted Mind. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197554265.003.0008.

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Abstract Chapter 7 refers to what became Franklin’s favorite bookshop in London, John Wilcox’s bookshop at the sign of the Green Dragon, which was located next door to where he and his traveling companion James Ralph found lodgings. This chapter tells the story of their arrival in London. Disappointed that Governor Keith had provided neither letters of introduction nor letters of credit, Franklin had to fend for himself. He found work with Samuel Palmer, an established London printer, and he and Ralph began to explore London. They especially enjoyed attending the theater and enjoying seeing ma
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SMITH, TYLER AUGUST. "Vaudeville Wars: How the Keith-Albee and Orpheum Circuits Controlled the Big-Time and Its Performers. By Arthur Frank Wertheim. New York: Palgrave MacMillan, 2006. 332 pp. $75.00 cloth." In Theatre History Studies 2008, Vol. 28. University of Alabama Press, 2009. https://doi.org/10.2307/jj.30297291.18.

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Noë, Alva. "Coughing and the Meaning of Art." In Learning to Look. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190928216.003.0027.

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This chapter details Keith Jarrett's solo piano recital at Davies Symphony Hall in San Francisco, as well as Karen Finley's performance at the American Repertory Theater in Cambridge, Massachusetts, assessing why there is so much coughing at live performances. One of the sources of art's value is that it provides an opportunity to pay attention and perceive what, after all, may require quite an effort to make sense of or appreciate. Art is an opportunity to cultivate in ourselves the ability to comprehend and perceive what is going on. Even the performers have trouble staying focused. This bri
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