Relevant bibliographies by topics / Marowitz

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Marowitz'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Marowitz"

1

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 Malib
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2

Holt, Thelma. "Marowitz Remembered." New Theatre Quarterly 30, no. 3 (2014): 206–7. http://dx.doi.org/10.1017/s0266464x14000414.

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CHARLES MAROWITZ and I were introduced to each other in the early 1960s when the actor I was playing opposite in a William Saroyan double-bill at the Duke of York's announced he was about to revive his performance of Hamlet, which he had played for Charles in Peter Brook's Theatre of Cruelty season. Charles had seen me in a play at what was the Hampstead Theatre Club where I prophetically played a lion-tamer. Neither of these performances indicated what he saw in me to play Gertrude as a mother merely eight years older than her son, Hamlet.In his flat, the first sight of Charles was forbidding
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3

Marowitz, Charles. "Silent Partners: the Marriage of Brecht and Bentley." New Theatre Quarterly 25, no. 2 (2009): 118–20. http://dx.doi.org/10.1017/s0266464x09000219.

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Charles Marowitz's Silent Partners, based on Eric Bentley's book The Brecht Memoir (1989) and on the author's subsequent interviews with Bentley, premiered under Marowitz's own direction at the Scena Theatre in Washington, DC, in 2006. Here, he describes the genesis of the play and the working relationship with Bentley which in turn explored Bentley's working relationship with Brecht. Charles Marowitz was a close collaborator with Peter Brook in the RSC's experimental work in the 1960s, and was founder and director of the Open Space Theatre in London, but now works permanently as a writer, dir
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4

Massai, Sonia. "Stage over Study: Charles Marowitz, Edward Bond, and Recent Materialist Approaches to Shakespeare." New Theatre Quarterly 15, no. 3 (1999): 247–55. http://dx.doi.org/10.1017/s0266464x0001304x.

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The flurry of Shakespearean adaptations in the 1960s and 1970s represents a significant yet largely neglected chapter of recent cultural history. This article assesses two of the more enduring adaptations – Edward Bond's Lear (Royal Court Theatre, 1971) and Charles Marowitz's Measure for Measure (Open Space Theatre, 1975) – in order to show how these controversial texts anticipated later mainstream critical approaches which still affect our reception of Shakespeare in the late 1990s. Several parallels between Marowitz and Bond's adaptations and recent materialist readings of their Shakespearea
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Marowitz, Charles. "Cue for Passion: on the Dynamics of Shakespearean Acting." New Theatre Quarterly 18, no. 1 (2002): 3–9. http://dx.doi.org/10.1017/s0266464x02000106.

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Critics and scholars continue to delve assiduously into the literary nuances of Shakespeare's plays, and increasingly the Theatre Studies community pursues the task of documenting performance. But the dynamics of Shakespearean acting continue to be fogged by ideologies and assumptions dating back to the debate between Alfred Harbage and Bertram Joseph in the early post-war period, and to even earlier disputes between inspirational and intellectual interpretations. Here, director and critic Charles Marowitz looks retrospectively at the problem by exploring the living constituents of the actor's
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6

Kott, Jan, and Charles Marowitz. "The Kott-Marowitz Dialogues: ‘Measure for Measure’." New Theatre Quarterly 10, no. 38 (1994): 157–66. http://dx.doi.org/10.1017/s0266464x00000312.

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Although included among the comedies in the First Folio of Shakespeare's plays, Measure for Measure long found itself disapproved on grounds of moral impropriety, and was restored to critical favour only to enjoy the dubious dignity of becoming a ‘problem’ play – which left open the question of whether the ‘problem’ was Shakespeare's, as man or craftsman, his society's, or perhaps even our own. In the theatre, too, the pendulum has swung from the easy contempt of the recent ‘permissive’ past for the value placed by Isabella upon her virginity to the renewed respect of feminist critics for her
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7

Ward, Nigel. "Twelve of the Fifty-One Shocks of Antonin Artaud." New Theatre Quarterly 15, no. 2 (1999): 123–30. http://dx.doi.org/10.1017/s0266464x00012811.

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In ‘Artaud at Rodez’, published in the sixth issue of the original Theatre Quarterly, Charles Marowitz pursued an investigation into the nature of the alleged madness of Antonin Artaud, for which he was confined during the Second World War – eventually being transferred to the asylum at Rodez where he was subjected to electric shock ‘therapy’. Marowitz's article, which later formed the basis for his play of the same title, explored the motivations and responses of those involved: here, Nigel Ward focuses rather on the nature and effects of the treatment itself, inflicted on Artaud no less than
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8

Wolford, Lisa. "The Grotowski Influence: A Reassessment." Canadian Theatre Review 88 (September 1996): 38–43. http://dx.doi.org/10.3138/ctr.88.008.

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In the years following Jerzy Grotowski’s much-publicized “exit from the theatre"—his announcement, following the premiere of Apocalypsis cum figuris in 1968, that he no longer intended to develop new productions—critics have debated not only the significance of Grotowski’s subsequent research for more recognizable forms of theatre practice, but also the relevance and lasting impact of a so-called “Grotowski method” of actor training. Charles Marowitz suggests that “as an ’influence’, Grotowski’s dynamic corporality came and went within a period of about ten years,” and that “the Grotowski touc
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9

김나영. "A Structural Variation of Shakespearean Plots in Marowitz Hamlet." Jungang Journal of English Language and Literature 51, no. 4 (2009): 59–81. http://dx.doi.org/10.18853/jjell.2009.51.4.004.

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10

Marowitz, Charles. "Otherness: the Director and the Discovery of the Actor." New Theatre Quarterly 14, no. 53 (1998): 3–8. http://dx.doi.org/10.1017/s0266464x00011684.

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Charles Marowitz worked extensively as a director in Britain from the late 'fifties through the 'seventies, and was one of the editors of the influential Encore magazine in the formative years of the ‘new wave’. His free-lance work included the co-direction with Peter Brook of the seminal ‘Theatre of Cruelty’ season, and the premiere production of Joe Orton's Loot. Later, in partnership with Jim Haynes, a season at the London Traverse Theatre led to the creation of his own, more enduring Open Space Theatre in a basement in Tottenham Court Road – one of the identifying events of 1968 and its th
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Dissertations / Theses on the topic "Marowitz"

1

Rickers, Karen R. "Charles Marowitz and the personal politics of Shakespearean adaptation." Thesis, University of Exeter, 2013. http://hdl.handle.net/10036/4267.

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This thesis comprises an exploration of the Shakespearean adaptations created by American director Charles Marowitz while he was Artistic Director of the Open Space Theatre in London, UK. In order of creation, they are: Hamlet (1964; revised 1966); A Macbeth (1969); An Othello (1972); The Shrew (1973); Measure for Measure (also called Variations on Measure for Measure) (1975); and Variations on the Merchant of Venice (1977). The central inquiry of this thesis is whether Marowitz’s Shakespearean adaptations adhered to his own parameters for such work, and if not, whether his objectives were sub
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2

Mohamed, Mona M. S. "Charles Marowitz : the semiotics of collage and dramatic classics." Thesis, University of Kent, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244324.

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Forsyth, Alison. "The living classic : Gadamer's hermeneutics and the dramatic rewrite with reference to selected plays by Marowitz, Fugard, Berkoff and Harrison." Thesis, University of Stirling, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244455.

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Books on the topic "Marowitz"

1

Marowitz, Charles. Roar of the canon: Kott and Marowitz on Shakespeare. Applause Theatre & Cinema Books, 2001.

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2

Forsyth, Alison. Gadamer, history, and the classics: Fugard, Marowitz, Berkoff and Harrison rewrite the theatre. P. Lang, 2002.

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3

Marowitz, Charles. The Marowitz Shakespeare: Adaptations and collages of Hamlet, Macbeth, The taming of the shrew, Measure for measure, and The merchant of Venice. M. Boyars, 1990.

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4

Storry, J. R. An investigation of the work of Charles Marowitz as director of the Open Space Theatre in London: With particular reference to the 1972 production of "An Othello ... after Shakespeare. University of Birmingham, 1994.

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5

Storry, J. R. Memorable mutilations: Charles Marowitz's restructuring of plays by William Shakespeare 1968-1977. University of Birmingham, 1996.

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6

Weinberg, David, Charles Marowitz, and Glenda Jackson. Marowitz Compendium. ibidem-Verlag, 2021.

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7

The Marowitz hamlet. Dramatists Play Service Inc., 2012.

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8

Marowitz, Charles. The Marowitz Shakespeare: Caesar, the Tempest, Timon. Marion Boyars Publishers, 2000.

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9

Supernatural Element in Shakespeares Macbeth und Marowitz' a Macbeth. GRIN Verlag GmbH, 2016.

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10

Marowitz, Charles, and Jan Kott. Roar of the Canon: Kott and Marowitz on Shakespeare. Leonard Corporation, Hal, 2002.

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Book chapters on the topic "Marowitz"

1

Nicholls, Graham. "What the Characters Said: The Charles Marowitz Version." In Measure for Measure. Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-06741-1_14.

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2

Scott, Michael. "Theatrical Discontinuity: Charles Marowitz, The Shrew, An Othello, Collage Hamlet." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_8.

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3

Saunders, Graham. "Anyone for Venice? Wesker, Marowitz, and Pascal Appropriate The Merchant of Venice." In Elizabethan and Jacobean Reappropriation in Contemporary British Drama. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-44453-0_6.

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Scott, Michael. "Demythologising Shylock: Arnold Wesker, The Merchant; Charles Marowitz, Variations on The Merchant of Venice." In Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_4.

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5

"Charles Marowitz: The Ascension of John Osborne (1962)." In John Osborne: Look Back in Anger. Bloomsbury Academic, 1991. http://dx.doi.org/10.5040/9781350403178.0020.

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Journal articles
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