Journal articles: 'Los Angeles Theatre (Los Angeles, Calif.)'

1

Sun, William H., and Faye C. Fei. "The Colored Theatre in Los Angeles." TDR (1988-) 36, no. 2 (1992): 173. http://dx.doi.org/10.2307/1146205.

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Hall, Jermaine. "Second Annual Film Conference: Los Angeles Convention Center, Los Angeles, Calif. June 12–14, 1998." SMPTE Journal 107, no. 4 (1998): 253. http://dx.doi.org/10.5594/j06405.

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Reinelt, Janelle. "The Los Angeles Theatre Festival. Summer 1990." Theatre Journal 43, no. 1 (1991): 107. http://dx.doi.org/10.2307/3207953.

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Goodman, Karen. "Synthesis in Motion." Experiment 20, no. 1 (2014): 86–117. http://dx.doi.org/10.1163/2211730x-12341260.

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This paper discusses the importance of Russian-born choreographer, theatre director, and teacher Benjamin Zemach (1901-1997) to Los Angeles. It contextualizes the sustained influences of his Jewish heritage, his training with Stanislavsky and Vakhtangov in the Habima Theatre, Russian dance and theatre synthesis and early American modern dance. The article focuses on his work in Los Angeles during two different periods of American culture and politics preceding and following World War ii (1931-35 and 1946-71), examining closely his contributions to Los Angeles Jewish and mainstream dance and theatre through an analysis of his choreographies for the stage and film as well as his teaching methodologies.

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Hall, Jermaine. "The Second Annual Film Conference: Los Angeles Convention Center, Los Angeles, Calif. June 12–14, 1998." SMPTE Journal 107, no. 2 (1998): 128. http://dx.doi.org/10.5594/j18216xy.

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III, Thomas W. Russell. "The Renaissance Theatre Company in Los Angeles, 1990." Shakespeare Quarterly 41, no. 4 (1990): 502. http://dx.doi.org/10.2307/2870782.

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Kevin Wetmore Jr. "Performance Review Essay: Japanese Theatre in Los Angeles." Asian Theatre Journal 26, no. 1 (2008): 159–67. http://dx.doi.org/10.1353/atj.0.0026.

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Brady, Amy. "“They're sufferin' the same things we're sufferin'”: Ideology and Racism in the Federal Theatre Project'sThe Sun Rises in the West." Theatre Survey 56, no. 1 (2014): 51–70. http://dx.doi.org/10.1017/s0040557414000568.

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Myth hides nothing: its function is to distort.—Roland BarthesIn Los Angeles, California, the home of the nation's second largest Federal Theatre Project (FTP), a group of FTP artists spent over a year developingThe Sun Rises in the West, a popular and critically well-received but forgotten play about the Dust Bowl migration and its effects on California's agricultural valleys. The play was mounted by the Southwest Theatre Unit (SWTU), an experimental branch of the Los Angeles Federal Theatre Project that worked as a collective to produce plays independently of the FTP's more mainstream endeavors. The SWTU attracted ample publicity during the latter half of the 1930s for its experimental, politically charged material, but because the group's artistic record has been buried for decades in government and university archives, much critical work remains to be done on its contributions to theatre history. This essay seeks to remedy this gap with a brief sketch of the SWTU as an avant-garde force in Los Angeles and an analysis of the SWTU's original play,The Sun Rises in the West.

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Moroney, Aileen. "138th SMPTE Technical Conference and World Media Expo: Los Angeles Convention Center • Los Angeles, Calif. October 8–12, 1996." SMPTE Journal 105, no. 4 (1996): 231–33. http://dx.doi.org/10.5594/j15833.

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Moroney, Aileen. "138th SMPTE Conference and World Media Expo Los Angeles Convention Center Los Angeles, Calif. October 8 to 12, 1996." SMPTE Journal 105, no. 7 (1996): 427–28. http://dx.doi.org/10.5594/j17214.

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Hurwitz, Joyce R. "The 136th SMPTE Technical Conference and World Media Expo: October 12–15, 1994, Los Angeles Convention Center, Los Angeles, Calif." SMPTE Journal 103, no. 2 (1994): 113. http://dx.doi.org/10.5594/j03714.

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Moroney, Aileen. "138th SMPTE Technical Conference and World Media Expo: Los Angeles Convention Center Los Angeles, Calif. October 8 to 12, 1996." SMPTE Journal 105, no. 9 (1996): 563–64. http://dx.doi.org/10.5594/j04614.

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13

Free, Katharine B. "Theatre Fever: The Olympic Festival of the Arts, Los Angeles 1984." Theatre Research International 10, no. 2 (1985): 154–60. http://dx.doi.org/10.1017/s0307883300010671.

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The sun was beginning to set in a muted pastel wash over Hollywood. In a nervous daze, I approached the ‘theatre’, Studio 9, a converted sound-stage which had never before been used as a space for live theatre. I had prepared assiduously for the performance by re-reading the play, Shakespeare's Richard II, the night before, and practicing French conjugations on the long drive through heavy traffic to Hollywood. The idea of listening to Shakespeare in French for four hours threatened to be incredibly taxing. My first sensations on entering Studio 9 were tactile. A spongy beige carpet was beneath my feet, providing an unfamiliar but distinctly pleasant odour. This carpet extended throughout the theatre space – underneath the bleachers where the audience sat, continuing to the raised stage and the ramps thrusting to the walls right and left. Black bands ran vertically from the back wall of the studio across the immense carpet up to the top of the bleachers.

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14

French, Gil. "Los Angeles: the Walt Disney Concert Hall and New Music." Tempo 58, no. 229 (2004): 78–79. http://dx.doi.org/10.1017/s0040298204260247.

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What better event to proclaim the potential of Los Angeles's new Walt Disney Concert Hall than a bicentennial celebration of the birth of Berlioz with Simon McBurney's Theatre de Complicité of London and Esa-Pekka Salonen's Los Angeles Philharmonic?

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15

Toffel, P. H. "Spring Meeting of the American Rhinologic Society, Los Angeles, Calif, April 17-18, 1993." Archives of Otolaryngology - Head and Neck Surgery 119, no. 9 (1993): 1053. http://dx.doi.org/10.1001/archotol.1993.01880210153023.

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16

Watson, Ian. "News, Television, and Performance: the Case of the Los Angeles Riots." New Theatre Quarterly 14, no. 55 (1998): 210–19. http://dx.doi.org/10.1017/s0266464x00012161.

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When the ‘action’ at major news events is observed over days or weeks by television cameras, how far does the medium become, whether knowingly or not, a participant and shaper in the action it observes? How far does the action itself become, to some degree, a performance before the cameras? While not ignoring either the moral or practical implications of such questions, lan Watson sets out primarily to analyze the ‘frame’ of television news broadcasting, and to consider the events within that frame as elements of performance. He considers the six days of rioting in Los Angeles in 1992, sparked by the acquittal of police officers charged with the beating of Rodney King – itself caught on camera – as a case study, in which the often ignored role of the observer, whether the news anchor-man in the studio or the audience watching at home, comes in for corrective scrutiny. He concludes that in the ‘mediated present’ of the news event on television, the medium is indeed as much a producer as a reporter of an action which is pervasively shaped by its presence. An Advisory Editor and regular contributor to New Theatre Quarterly, lan Watson teaches in the Department of Visual and Performing Arts at Rutgers, where he is Co-ordinator of the Theatre and Television Programs.

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17

Suzuki, Makoto, Huai-Ying Zheng, Tomokazu Takasaka, et al. "Asian Genotypes of JC Virus in Japanese-Americans Suggest Familial Transmission." Journal of Virology 76, no. 19 (2002): 10074–78. http://dx.doi.org/10.1128/jvi.76.19.10074-10078.2002.

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ABSTRACT To examine the mode of JC virus (JCV) transmission, we collected urine samples from second- and third-generation Japanese-Americans in Los Angeles, Calif., whose parents and grandparents were all Japanese. From the urine samples of these Japanese-Americans, we mainly detected two subtypes (CY and MY) of JCV that are predominantly found among native Japanese. This finding provides support for the hypothesis that JCV is transmitted mainly within the family through long-term cohabitation.

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18

Katz-Fishman, Walda. "A People's Theater on Skid Row." Monthly Review 68, no. 9 (2017): 58. http://dx.doi.org/10.14452/mr-068-09-2017-02_7.

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In Acting Like It Matters, James McEnteer gives a compassionate account of John Malpede&mdash;actor, activist, and co-creator of the political theatre troupe the Los Angeles Poverty Department (LAPD)&mdash;and of the Skid Row community that is the organization's heart and soul. The story of Malpede and the LAPD is one of life as art and art as life, and its protagonists are the dehumanized homeless citizens of Los Angeles and their compatriots in cities across the United States and the world, who represent a growing part of today's global working class pushed out of the formal economy.Click here to purchase a PDF version of this article at the Monthly Review website.

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KELSAY, JOHN. "DAVID COOKUnderstanding Jihad (Berkeley, Calif./Los Angeles: University of California Press, 2005). Pp. 269. $19.95 paper." International Journal of Middle East Studies 39, no. 1 (2007): 134–35. http://dx.doi.org/10.1017/s002074380728256x.

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20

van Erven, Eugene. "When José Met Sally: Chicano Theatre in L.A. at Grassroots and Mainstream." New Theatre Quarterly 12, no. 48 (1996): 356–66. http://dx.doi.org/10.1017/s0266464x0001054x.

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Playscript development programmes have been a significant breeding ground for new American drama since the mid'sixties, and in 1986 the Chicano playwright and director José Cruz González started a playwright development workshop specifically for the Latino community. Here, Eugene van Erven provides a bipolar view of the current Latino theatre scene in southern California by documenting the tenth anniversary session of González' Hispanic Playwrights Project at South Coast Rep, and at the same takes a wider look at grassroots community theatre initiatives in the Chicano neighbourhoods of Los Angeles. Eugene van Erven teaches in the American Studies programme at Utrecht University. Author of The Playful Revolution (Indiana University Press, 1992) and Radical People's Theatre (Indiana UP, 1988), he also designs and produces intercultural theatre projects.

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21

Kunwar, Mayura Jang. "Art of Nepal: a catalogue of the Los Angeles Country Museum of Art collection. By Pratapaditya Pal. pp. 258, illus. in colour and black and white. 2 maps. Los Angeles, Calif., Los Angeles Country Museum of Art in association with University of California Press, Los Angeles and London, 1985. £18.95." Journal of the Royal Asiatic Society of Great Britain & Ireland 119, no. 1 (1987): 150–51. http://dx.doi.org/10.1017/s0035869x00167474.

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HUNSAKER, D. "96th Annual Meeting of The American Laryngological, Rhinological, and Otological Society, April 19-21, 1993, Los Angeles, Calif." Archives of Otolaryngology - Head and Neck Surgery 119, no. 8 (1993): 912–13. http://dx.doi.org/10.1001/archotol.1993.01880200118019.

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23

Minin, Oleg. "Russian Artists in the United States." Experiment 20, no. 1 (2014): 229–59. http://dx.doi.org/10.1163/2211730x-12341264.

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Charting Nicholas Remisoff’s artistic legacy during his California period, this essay explores his contributions to the cultural landscape of the state and emphasizes his work on live stage productions in San Francisco and Los Angeles in the early 1930s and 1940s. Delineating the critical reception of Remisoff’s work in opera, ballet and theatre in these cities, this essay also highlights the artist’s interactions and key collaborations with other Russian and European émigré artists and reflects on the nature of Remisoff’s particular affinity with Southern California.

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24

Cohen, Paul B. "Peter Brook and the ‘Two Worlds’ of Theatre." New Theatre Quarterly 7, no. 26 (1991): 147–59. http://dx.doi.org/10.1017/s0266464x0000542x.

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The ‘two worlds’ of Peter Brook's theatre are its audience and its actors. According to Brook, the actors bring their ‘world of the imagination’ to meet with the audience's ‘world of the everyday’: but instead of the temporary suspension of belief in the ‘everyday world’ which a western audience has traditionally forced upon itself, Brook conceives the true theatrical experience as an interaction between the two modes of reality – those of the ‘imagination’ and the mundane. In the following article, Paul Cohen assesses the importance of this basic philosophy to Brook's productions since 1968, paying particular attention to the tour of Africa with The Conference of the Birds and the recent epic production of The Mahabharata, attempting to show that Brook's theory still directly informs the methodology and the performance orientation of his productions. Paul Cohen originally presented this paper as an MA dissertation for Vanderbilt University, and is currently on the Professional Writing Program of the University of Southern California in Los Angeles.

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Moroney, Aileen. "The First Annual Spring Film Conference and Exhibition: March 20 to 22, 1997 Century Plaza Hotel • Los Angeles, Calif." SMPTE Journal 105, no. 12 (1996): 778. http://dx.doi.org/10.5594/j06428.

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Moroney, Aileen. "The First Annual Spring Film Conference and Exhibition March 20 to 22, 1997 Century Plaza Hotel • Los Angeles, Calif." SMPTE Journal 106, no. 1 (1997): 73. http://dx.doi.org/10.5594/j09539.

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27

Moroney, Aileen. "The First Annual Spring Film Conference and Exhibition March 20 to 22, 1997, Century Plaza Hotel • Los Angeles, Calif." SMPTE Journal 106, no. 3 (1997): 184–85. http://dx.doi.org/10.5594/j15794.

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Moroney, Aileen. "The First Annual Spring Film Conference and Exhibition March 20 to 22, 1997 Century Plaza Hotel • Los Angeles, Calif." SMPTE Journal 106, no. 2 (1997): 129. http://dx.doi.org/10.5594/j15813.

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29

King, Carol. "Last-Minute Update: 133rd SMPTE Technical Conference and Equipment Exhibit: Los Angeles Convention Center, Calif. October 26–29, 1991." SMPTE Journal 100, no. 10 (1991): 820–23. http://dx.doi.org/10.5594/j02432.

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30

Wellish, Kent L. "American Society for Cataract and Refractive Surgery Summer Symposium on Refractive Surgery August 26-29, 1993 Los Angeles, Calif." Journal of Refractive Surgery 9, no. 6 (1993): 488. http://dx.doi.org/10.3928/1081-597x-19931101-17.

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31

Manifold, Gay. "Solidarity and Ensemble: George Sand and a People's Theatre." New Theatre Quarterly 2, no. 7 (1986): 233–36. http://dx.doi.org/10.1017/s0266464x00002190.

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Our understanding of the idea of a ‘people's theatre’ in France derives mainly from Romain Rolland's seminal essay of that title, published at the turn of the century – from which excerpts were translated in TQ23 of our first series, together with other material on the subject going back to around 1870. Yet the French writer George Sand had evolved, more in practice than in theory, a very different approach at a considerably earlier date – and, notably in her play Old Man Go-It-Alone, she presented the working class as a ‘hero’ in its own collective right, as opposed to Romain's preference for portraying the heroic individualism of revolutionary leaders. Gay Manifold looks closely at this play within the context of Sand's life, career, and framework of beliefs. A theatre director, dramaturg, and writer, who is currently Chair of the Department of Theatre Arts at California State University, Los Angeles, Gay Manifold has published a full-length study of George Sand's Theatre Career, just available from UMI Research Press, Michigan.

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32

Wong, Deborah. "Great Leap's 20th Anniversary Concert: To All Relations '98, 17 July 1998, Japan America Theatre, Los Angeles." Journal of Asian American Studies 2, no. 1 (1999): 114–17. http://dx.doi.org/10.1353/jaas.1999.0002.

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Lee, Josephine. "East West Players and Asian American Theatre: A Retrospective." Theatre Survey 57, no. 2 (2016): 238–41. http://dx.doi.org/10.1017/s0040557416000089.

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The following essays were inspired by talks delivered at the 2015 Association for Asian American Studies annual conference, where we commemorated the fifty years since the 1965 founding of East West Players (EWP) in Los Angeles. Currently led by artistic director Tim Dang, EWP is known as the first and longest-running Asian American theatre company. It has played a crucial part in the training of Asian American actors and the formation of other Asian American theatres across the nation and in the development of new plays and productions that articulate and challenge how “Asian America” is understood and represented. Through reflecting upon the past, present, and future of EWP, our essays contemplate the most significant questions about Asian American theatre practice: how theatre engages the multiple and even contradictory aspects of what is “Asian American,” the panethnic racial category that is consistently challenged by the diverse cultural practices, communities, and identities it purports to describe. EWP's history illustrates the multiple dimensions of how Asian American theatre can challenge the limited prescriptions, labels, and packaging so often used in talking about race both inside and outside the theatre.

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Rodriguez, Chantal. "Is One Octopus Enough?" Theater 49, no. 1 (2019): 6–21. http://dx.doi.org/10.1215/01610775-7253739.

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Likening Latinx theater to many octopuses with many legs, Chantal Rodriguez reflects on the 2017 Encuentro de las Américas Festival, hosted in Los Angeles by the Latino Theater Company, which included the first international convening of the Latinx Theatre Commons. Rodriguez describes current and emerging trends in Latinx theater across the Americas as expressed over the course of two panel discussions and among small-group participants. Recounting how these geographically diverse conveners responded to questions concerning Latinx aesthetics, political activism, funding, festivals, and inclusion, Rodriguez unpacks the festival’s predominant question: “What can we do together that we can’t do alone?”

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35

Armstrong, Gordon. "Theatre as a Complex Adaptive System." New Theatre Quarterly 13, no. 51 (1997): 277–88. http://dx.doi.org/10.1017/s0266464x00011271.

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The functioning of human consciousness in interpreting and staging a theatrical performance is, as Gordon Armstrong argues in this article, among the most highly selective and adaptive operations known to physical science. According to this view, the theatre, as a substrate of consciousness, was part of the package that defined modern man as a reflective species: whereas for the first four million years of human existence man was silent about a probable inner life, the dawn of empathy some 200,000 years ago saw a neural explosion – the enlargement of the angular gyrus in the left hemisphere of the brain, unlocking a new kind of reflective consciousness. In isolation, this aberrant neurological connection proved so advantageous for hunting and for communication that members of a tribe who possessed this aberration prospered: and adaptation to the ice ages that began 200,000 years ago was a motivating factor in stimulating the emergence of what we can recognize as art. Gordon Armstrong is immediate past Secretary of the American Society for Theatre Research, and Review Editor for Theatre Research International. He has taught at UCLA, SUNY Stony Brook, and the University of Rhode Island, and has designed and directed productions in San Francisco, Los Angeles, and New York. His full-length works include the revised Golden Ages of the Theatre and Samuel Beckett, W.B. Yeats, and Jack Yeats: Images and Words.

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Stiffler, Brad. "Punk Subculture and the Queer Critique of Community on 1980s Cable TV: The Case of New Wave Theatre." Television & New Media 19, no. 1 (2017): 42–58. http://dx.doi.org/10.1177/1527476416687040.

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If histories of television recognize it all, the relationship between punk subculture and the mass cultural medium of television is often rendered as a story of misreprentation, conflict, or mutual avoidance. Such studies overlook a rich history of punks throughout North America who produced numerous programs for cable television, especially the non-commercial forum of public access, in the late 1970s and early 1980s. Conceiving of TV as a kind of social technology, some punks actively and critically engaged in producing subculture both on and through the medium. This article looks at the case of New Wave Theatre (Theta/KSCI 1979–1983), a Los Angeles–based cable program that featured punk and new-wave bands, performance art, and interviews. It argues that through distinctive performance tactics and production practices, New Wave Theatre developed a form of “subcultural television” rooted in queer “antisociality.”

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37

Watson, Ian. "Theatre as Social Science: A Comparative Study of Eugenio Barba's Barter Performances and the 1992 Los Angeles Riots." Modern Drama 39, no. 4 (1996): 574–84. http://dx.doi.org/10.3138/md.39.4.574.

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&NA;. "The American Laryngological, Rhinological and Otological Society, Inc. 96th Annual Meeting April 19???21, 1993 The Century Plaza Los Angeles, Calif." Laryngoscope 103, no. 3 (1993): 350???363. http://dx.doi.org/10.1288/00005537-199303000-00020.

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39

Urban, Ken. "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the 'Nineties." New Theatre Quarterly 20, no. 4 (2004): 354–72. http://dx.doi.org/10.1017/s0266464x04000247.

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The explosion of ‘in-yer-face’ theatre that dominated the British stage in the 'nineties has had both vocal champions and detractors. Here, Ken Urban examines the emergence of this kind of theatre within the cultural context of ‘cool Britannia’ and suggests that the plays of writers such as Mark Ravenhill and Sarah Kane explore the possibilities of cruelty and nihilism as a means of countering cynicism and challenging mainstream morality's interpretation of the world. Ken Urban is a playwright and director, whose plays The Female Terrorist Project and I [hearts] KANT are currently being produced by the Committee Theatre Company in New York City. His play about the first US Secretary of Defense, The Absence of Weather, will premiere in Los Angeles at Moving Arts Theatre Company, which has named it the winner of its national new play award. At the request of the Sarah Kane Estate, Urban directed the New York premiere of her play Cleansed. He teaches Modern Drama and Creative Writing in the English Department at Rutgers University, New Brunswick. An early version of this article was first presented at the ‘In-Yer-Face? British Drama in the 1990s’ conference at the University of the West of England, Bristol, in September 2002.

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Chatterjee, Sudipto. "SOUTH ASIAN AMERICAN THEATRE: (UN/RE-)PAINTING THE TOWN BROWN." Theatre Survey 49, no. 1 (2008): 109–17. http://dx.doi.org/10.1017/s0040557408000069.

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In his second year at the University of California, Berkeley, Arthur William Ryder (1877–1938), the Ohio-born Harvard scholar of Sanskrit language and literature, collaborated with the campus English Club and Garnet Holme, an English actor, to stage Ryder's translation of the Sanskrit classic Mrichchhakatikam, by Shudraka, as The Little Clay Cart. The 1907 production was described as “presented in true Hindu style. Under the direction of Garnet Holme, who … studied with Swamis of San Francisco … [and] the assistance of many Indian students of the university.” However, in the twenty-five-plus cast, there was not a single Indian actor with a speaking part. The intended objective was grandeur, and the production achieved that with elaborate sets and costumes, two live zebras, and elephants. Seven years later, the Ryder–Holme team returned with Ryder's translation of Kalidasa's Shakuntala, “bear cubs, a fawn, peacocks, and an onstage lotus pool with two real waterfalls.” While the archival materials do not indicate the involvement of any Indian actors (barring one Gobind B. Lal, who enacted the Prologue), its importance is evinced by the coverage it received in the Oakland Tribune, the Overland Monthly and Out West Magazine, and the Los Angeles Times.

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Sellars, Peter, and Maria Shevtsova. "Covid Conversations 1: Peter Sellars." New Theatre Quarterly 37, no. 1 (2021): 1–19. http://dx.doi.org/10.1017/s0266464x20000767.

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In this profoundly dialogical exchange, Peter Sellars, theatre director, researcher, and teacher, and Maria Shevtsova open out a whole array of questions on the integral relation between politics and the theatre in its multiple manifestations. These questions not only concern the damages inflicted by the present Covid-19 pandemic but also those developed by the neoliberal economics and politics of the past forty years and more. In Sellars’s view, neoliberalism has been the hotbed of social injustices, inequities, market and other forms of current enslavement, migrations, refugee and related precarities, and the havoc of the world climate in which the plight of humanity and that of the planet are indelibly interconnected. His and Shevtsova’s discussion links such vital concerns with his theatre practice, which ranges from his engagement with local communities and indigenous peoples – he details some of his work with the collective, community organization of two Los Angeles Festivals of the early 1990s – to the various forms of his music theatre in which he collaborates, in institutional structures, with highly proficient musicians, singers and dancers. The focus chosen here from his music theatre is The Indian Queen (2013), which Sellars dramaturgically invents using pieces by Henry Purcell combined with prose fragments by Nicaraguan novelist Rosario Aguilar. Peter Sellars is an internationally renowned theatre director among whose more recent productions is Mozart’s Idomeneo, premiered at the Salzburg Festival in 2019. Maria Shevtsova, Professor of Drama and Theatre Arts at Goldsmiths, University of London, is editor of New Theatre Quarterly. This conversation took place on 16 August 2020, was transcribed from the recording by Kunsang Kelden, and was edited by Maria Shevtsova.

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Trussler, Simon. "Charles Marowitz in London: Twenty-Five Years Hard: Marowitz in the Sixties." New Theatre Quarterly 30, no. 3 (2014): 203–6. http://dx.doi.org/10.1017/s0266464x14000402.

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Charles Marowitz, who died on 2 May this year, arrived in England from his native New York in 1956, on a scholarship earned for service in Korea. He immediately found in Unity Theatre a venue for his first London production, and in the following year opened his own theatre – an attic in the headquarters of the British Drama League known as In-Stage. In 1981, after the closure of his last and longest London base, the Open Space Theatre in Tottenham Court Road, he left, disillusioned with his adopted country, to settle in California, creating companies in Los Angeles and in his new home of Malibu. But during the momentous decade of the sixties it was British theatre that Marowitz helped to reshape – not least in developing London's still flourishing ‘fringe’. In this feature, NTQ co-editor Simon Trussler celebrates not only Marowitz's directing career, on which many obituarists have written, but also – through personal recollections of the man in those early years – the many other ‘hats’ he wore: as theatre critic, editor, playwright, and cultural entrepreneur. Marowitz's long-term professional partner, Thelma Holt, shares her own memories of the twelve years when together they formed and ran the Open Space. Marowitz contributed to the old TQ and to New Theatre Quarterly, but here we include some of the articles he wrote in later life for the online Swans Commentary, to which we are most grateful for permission to reprint. All are from 2012, when Parkinson's disease was tightening its hold, and so are among the very last pieces he wrote.

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DiNapoli, Russell. "Fragile Currency of the Last Anarchist: the Plays of Maxwell Anderson." New Theatre Quarterly 18, no. 3 (2002): 276–83. http://dx.doi.org/10.1017/s0266464x02000350.

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Maxwell Anderson's plays have been overshadowed in the American and world theatre, alike by the canonical post-war writers of the succeeding generation and by writers such as Clifford Odets and Thornton Wilder of his own, who are felt to be more representative of the prevailing mood. Russell DiNapoli argues that it was Anderson's very atypicality which merits his reconsideration. As a playwright, he steadfastly kept to his own ideological course while influenced at the same time by the changing fashions which made for success on Broadway – the resulting creative tensions having both positive and negative effects on his contemporary as on his posthumous reputation. A New Yorker, Russell DiNapoli took his Master of Fine Arts degree in Theatre at the University of California, Los Angeles, and his doctorate in Philology at the Universidad de Valencia, Spain, where he is currently a member of the Department of English and German. He has written and directed several plays in Valencia, where he has lived since 1977, the most recent being a Spanish adaptation of the Prologue in Maxwell Anderson's Key Largo.

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Taviani, Ferdinando. "In Memory of Ryszard Cieslak." New Theatre Quarterly 8, no. 31 (1992): 249–61. http://dx.doi.org/10.1017/s0266464x00006874.

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The Polish actor Ryszard Cieslak, who died in June 1990, joined Jerzy Grotowski's first theatrical venture, the Theatre of the Thirteen Rows in Opole, in 1962, three years after its formation, remaining with Grotowski throughout the life of the Laboratory Theatre in Wroclaw, and until it ceased touring early in 1980 after Grotowski's period of paratheatrical experiments had begun. Cieslak is best remembered for his performances in The Constant Prince and Apocalypsis cum Figuris, and his achievements as an actor were in some senses inseparable from those of Grotowski – but in later years he worked independently, both as a director and, before his death, in the memorable Tiresias-like role of Dhrtarastra in Peter Brook's version of The Mahabharata. In the first part of this feature, Ferdinando Taviani explores the nature and the quality of Cieslak's work, and its relationship with the Laboratory Theatre. To complement his analysis, we are reprinting the final interview given by Cieslak before his death, which was first published on 2 May 1990 in the literary supplement of the Polish-language American journal Nowy Dziennik. Its occasion was the screening of the film of The Mahabharata in Los Angeles and other United States cities in May and June 1990.

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45

Asim, Ina. "Cinderella's Sisters: A Revisionist History of Footbinding. By Dorothy Ko. (Berkeley and Los Angeles, Calif.: University of California Press, 2005. Pp. xix, 332. $29.95.)." Historian 69, no. 3 (2007): 572–74. http://dx.doi.org/10.1111/j.1540-6563.2007.00189_46.x.

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46

Tavel, Ronald. "Disputing the Canon of American Dramatic ‘Literature’." New Theatre Quarterly 13, no. 49 (1997): 18–28. http://dx.doi.org/10.1017/s0266464x00010769.

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In this article, Ronald Tavel argues that the commercial American theatre, endorsed by the American educational system and theatrical establishment, has never nurtured a vision of the scripted play as art – and has consequently produced no single example of it. The nation's genuine playwrights who saw their tasks as makers of art have, he claims, been neglected throughout American history, and left to wither in the wings. In the 1960s, Ronald Tavel founded and named the still-extant Theatre of The Ridiculous, and has written forty produced plays, a number of which have been translated into a dozen languages and staged in four continents. He has written and directed thirteen films for Andy Warhol: ten of these have recently been restored for international distribution by the New York Museum of Modern Art, and all are to be collected for publication later this year by Sun and Moon Press, Los Angeles. Ronald Tavel lives in Taipei, but is currently teaching a course on Warhol and the filmmaker-architect Jack Smith at the Art Centre College of Design in California. The American Institute in Taiwan selected the article which follows as the keynote address at the Seventeenth Annual Convention of the American Studies Association of the Republic of China.

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Walters, R. G. "UCLA Digital Archive of Popular American Music, http://digital.library.ucla.edu/apam/. Created and maintained by the UCLA Music Library, Los Angeles, Calif. Reviewed Oct. 27, 2006." Journal of American History 94, no. 1 (2007): 365. http://dx.doi.org/10.2307/25094948.

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Martens, Lydia. "Longing and Belonging: Parents, Children, and Consumer Culture. By Allison J. Pugh. Berkeley and Los Angeles, Calif.: University of California Press, 2009. Pp.xvii+301. $21.95." American Journal of Sociology 115, no. 5 (2010): 1612–14. http://dx.doi.org/10.1086/652933.

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49

Kadavy, Dana R., Bradley Plantz, Christopher A. Shaw, Jill Myatt, Tyler A. Kokjohn, and Kenneth W. Nickerson. "Microbiology of the Oil Fly, Helaeomyia petrolei." Applied and Environmental Microbiology 65, no. 4 (1999): 1477–82. http://dx.doi.org/10.1128/aem.65.4.1477-1482.1999.

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ABSTRACT Helaeomyia petrolei larvae isolated from the asphalt seeps of Rancho La Brea in Los Angeles, Calif., were examined for microbial gut contents. Standard counts on Luria-Bertani, MacConkey, and blood agar plates indicated ca. 2 × 105 heterotrophic bacteria per larva. The culturable bacteria represented 15 to 20% of the total population as determined by acridine orange staining. The gut itself contained large amounts of the oil, had no observable ceca, and maintained a slightly acidic pH of 6.3 to 6.5. Despite the ingestion of large amounts of potentially toxic asphalt by the larvae, their guts sustained the growth of 100 to 1,000 times more bacteria than did free oil. All of the bacteria isolated were nonsporeformers and gram negative. Fourteen isolates were chosen based on representative colony morphologies and were identified by using the Enterotube II and API 20E systems and fatty acid analysis. Of the 14 isolates, 9 were identified as Providencia rettgeriand 3 were likely Acinetobacter isolates. No evidence was found that the isolates grew on or derived nutrients from the asphalt itself or that they played an essential role in insect development. Regardless, any bacteria found in the oil fly larval gut are likely to exhibit pronounced solvent tolerance and may be a future source of industrially useful, solvent-tolerant enzymes.

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Deeney, John. "Peter Ansorge From Liverpool to Los Angeles: on Writing for Theatre, Film, and TelevisionLondon: Faber and Faber, 1997. £8.99. ISBN 0-571-17912-6." New Theatre Quarterly 15, no. 1 (1999): 94. http://dx.doi.org/10.1017/s0266464x00012732.

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Journal articles on the topic 'Los Angeles Theatre (Los Angeles, Calif.)'

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