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Journal articles on the topic 'Modern American drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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1

Parsons, E. "Modern American Drama on Screen * Modern British Drama on Screen." Adaptation 8, no. 1 (2015): 145–46. http://dx.doi.org/10.1093/adaptation/apv002.

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2

Henke, Richard, and C. W. E. Bigsby. "Modern American Drama: 1945-1990." American Literature 66, no. 4 (1994): 874. http://dx.doi.org/10.2307/2927741.

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3

Kolin, Philip C., and C. W. E. Bigsby. "Modern American Drama, 1945-1990." World Literature Today 68, no. 1 (1994): 135. http://dx.doi.org/10.2307/40149953.

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4

Abdulmunem Azeez, Rasha. "Paula Vogel And The Modern American Female Playwrights." Journal of the College of languages, no. 44 (June 1, 2021): 46–71. http://dx.doi.org/10.36586/jcl.2.2021.0.44.0046.

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Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there we
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5

Guerra, Jonnie G., June Schlueter, Alice M. Robinson, Vera Mowray Roberts, and Milly S. Barranger. "Modern American Drama: The Female Canon." Theatre Journal 44, no. 1 (1992): 125. http://dx.doi.org/10.2307/3208536.

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6

Ben-Zvi, Linda, and June Schlueter. "Feminist Rereadings of Modern American Drama." Modern Language Review 87, no. 3 (1992): 734. http://dx.doi.org/10.2307/3732980.

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7

Bower, Martha Gilman, and Patricia R. Schroeder. "The Presence of the Past in Modern American Drama." American Literature 61, no. 4 (1989): 718. http://dx.doi.org/10.2307/2927027.

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8

Elam, Jr., Harry. "August Wilson, Doubling, Madness, and Modern African-American Drama." Modern Drama 43, no. 4 (2000): 611–32. http://dx.doi.org/10.3138/md.43.4.611.

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9

Stroupe, John H., and Patricia R. Schroeder. "The Presence of the past in Modern American Drama." Modern Language Review 86, no. 3 (1991): 705. http://dx.doi.org/10.2307/3731052.

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10

Abdullah Hammood, Najim, Samer Dhahir Mahmood, and Mohamed Ramadhan Hashim. "The Offstage Character in Modern American Drama: Sam Shepard’s Buried Child." International Journal of Applied Linguistics and English Literature 9, no. 4 (2020): 117. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.4p.117.

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This paper highlights and explains the impact of the offstage character, which is widely prevalent in the American drama, on the onstage characters and the audience as well. In the 20th century, American drama is marked by the loss and absence which depict the dark side of American society because of the ramifications of the two World Wars. These consequences are the major reasons behind man’s hopelessness, alienation and failure. With the great development in the field of psychology, at the hand of Sigmund Schlomo Freud in the 19th century, which paved the path for the writers to deeply burro
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11

Woodson, Jon, and Walter A. Davis. "Get the Guests: Psychoanalysis, Modern American Drama, and the Audience." American Literature 67, no. 3 (1995): 607. http://dx.doi.org/10.2307/2927962.

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12

Price, Steven, Walter A. Davis, and Joel Pfister. "Get the Guests: Psychoanalysis, Modern American Drama, and the Audience." Modern Language Review 91, no. 4 (1996): 985. http://dx.doi.org/10.2307/3733553.

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13

Dervin, Daniel. "The Absent Father's Presence in Modern and American Gay Drama." American Imago 56, no. 1 (1999): 53–74. http://dx.doi.org/10.1353/aim.1999.0002.

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14

Case, Sue-Ellen. "Feminist Rereadings of Modern American Drama ed. by June Schlueter." Comparative Drama 25, no. 2 (1991): 202–4. http://dx.doi.org/10.1353/cdr.1991.0006.

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15

Marcinčin, Matúš. "Slovak Shakespeare in American Exile." Slovenske divadlo /The Slovak Theatre 65, no. 1 (2017): 4–21. http://dx.doi.org/10.1515/sd-2017-0001.

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Abstract Ján Vilikovský’s synthesizing monograph Shakespeare u nás (2014) is a great study; however, it does not include the whole history of translations of Shakespeare’s dramas into the Slovak language. Slovak literary and theatre studies have not reflected this theme in relation to Slovak cultural exile after the year 1945. In the present contribution, the author completes the mentioned monograph by Vilikovský, he adds and deals especially with translations written in exile by Andrej Žarnov and Karol Strmeň. He pays special attention to the fragments of translations of Shakespeare’s dramas
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16

Menefee, Charissa. "Visions of Tragedy in Modern American Drama ed. by David Palmer." Theatre History Studies 38, no. 1 (2019): 232–34. http://dx.doi.org/10.1353/ths.2019.0021.

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17

Zimmerman, Jonathan. "Brown-ing the American Textbook: History, Psychology, and the Origins of Modern Multiculturalism." History of Education Quarterly 44, no. 1 (2004): 46–69. http://dx.doi.org/10.1111/j.1748-5959.2004.tb00145.x.

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In June 1944, a delegation of African-American leaders met with New York City school officials to discuss a central focus of black concern: history textbooks. That delegation reflected a broad spectrum of metropolitan Black opinion: Chaired by the radical city councilman Benjamin J. Davis, it included the publisher of theAmsterdam News—New York's major Black newspaper—as well as the bishop of the African Orthodox Church. In a joint statement, the delegates praised public schools' recent efforts to promote “intercultural education”—and to reduce “prejudice”—via drama, music, and art. Yet if his
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18

Vital, Feofania Yu. "Emotional Influence on the Viewer in Contemporary American Cinema." Journal of Flm Arts and Film Studies 8, no. 1 (2016): 91–104. http://dx.doi.org/10.17816/vgik8191-104.

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The article studies the methods and means used in modern American film drama to control the audiences emotional state, sorting out the major techniques of such control as exemplified by specific films. The main focus is on the catharsis as the key moment of watching a film.
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19

Kim, Yungduk. "The Ethics of Vulnerability in Modern American and British Drama - O’Reilly’s Peeling -." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 70 (August 31, 2018): 63–86. http://dx.doi.org/10.21087/nsell.2018.08.70.63.

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20

Karnad, Girish. "Performance, Meaning, and the Materials of Modern Indian Theatre." New Theatre Quarterly 11, no. 44 (1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.

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Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporar
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21

Al-Zubbaidi, Asst Prof Dr Haitham K. Eidan. "Dramatizing Modern American and Arabic Poetry A Study in Selected Poems by Kenneth Koch and Yousif Al-Sayegh." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 4 (2019): 95–118. http://dx.doi.org/10.36473/ujhss.v58i4.1021.

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The interrelatedness of drama and poetry introduces one of the most exceptionally robust examples of trans-genre literature. It is further characterized by a deep-rooted tradition that dates back to ancient Greek and Roman drama, as well as a sense of circumstantial and ad hoc necessity-driven, age-oriented adaptability. The present paper assumes that this well-established sensitive relation of poetry and drama rests upon some circumstantial time-specific cultural forces or motivators that impact the ebb and flow, the expansion-contraction movements which are directly related to the temporal n
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22

Bentley, Eric, Robert Brustein, and Stanley Kauffmann. "The Theatre Critic as Thinker: a Round-Table Discussion." New Theatre Quarterly 25, no. 4 (2009): 310–23. http://dx.doi.org/10.1017/s0266464x09000608.

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In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vis
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23

Khalil, Haider Ibrahim, Abdullah Mohd Nawi, and Ansam Ali Flefil. "The Iceman Cometh (1939) is the Representation of the Social Problems by Eugene O’ Neill: Modern American Drama." Asia Proceedings of Social Sciences 7, no. 2 (2021): 96–100. http://dx.doi.org/10.31580/apss.v7i2.1781.

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The main aim of this paper is to trace the social problems in The Iceman Cometh by Eugene O’Neill. The social issues are the pipe dream and hopelessness of man in American family and society. These social problems leads to tragic issues. The researcher is going to use the socialism theory by Karl Marx to tackle social issues (the hopelessness of man and the pipe dream) to present the tragic problems. The analysis of data will be qualitative approach and the technique is interpretive as storytelling type. The data is collected by the textual method. In the analysis and discussions part, the res
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24

Starostina, Julia S. "Linguoaxiosphere of Society and Personality in American Drama Discourse." Current Issues in Philology and Pedagogical Linguistics, no. 1(2021) (March 25, 2021): 203–13. http://dx.doi.org/10.29025/2079-6021-2021-1-203-213.

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The article presents the results of the study devoted to the linguistic axiological analysis of the XXI century American drama discourse. Contemporary drama discourse, due to its special linguistic status, is a space for verbal representation of characters’ individual axiological trajectories, the analysis of which contributes to determining the values, which are relevant for society as a whole. The aim of the study is to systematize the dynamic structural and content elements of drama characters’ personal axiological spheres and to define their involvement in the piece of social value paradig
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25

Khalil, Haider Ibrahim, Abdullah Mohd Nawi, and Ansam Ali Flefil. "The Emperor Jones is the Reflection of the Black White Struggle: Modern American Drama." Asia Proceedings of Social Sciences 7, no. 2 (2021): 101–4. http://dx.doi.org/10.31580/apss.v7i2.1782.

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The Emperor Jones is the best viewpoint of O’Neill’s plays in depicting the black white people. This play exposes the portraying of black white conflict as modernism ideology. This play is focused on the suffering and the oppression of people. In this study, the scholar uses the qualitative method as storytelling type. In theoretical framework, the critical race theory is related to this study to analyse the speech which tackles the plot, characters and setting according to the concepts of clash of cultures. This study/ this paper also shows the clashes of culture in American society. Furtherm
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26

Hassan, Sanaa Lazim. "Politics and the Craft of War in Sam Shepard’s States of Shock." لارك 1, no. 20 (2019): 30–40. http://dx.doi.org/10.31185/lark.vol1.iss20.692.

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Sam Shepard is one of the controversial modern American playwrights who wrote about issues that are concerned with the individual in America rather than the institution
 In his theatre, the audience expects to see everything that concerns itself with the western culture and ignores that which is global. He is very much interested in the inner landscape of America rather than its position as the leader of the world. Thus, in his drama he preaches such ideology urging the US Administration to focus the attention on the American welfare.
 The research attempts an analysis on his play Th
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27

Zaheer, Faiza, and Kamal ud Din. "American Dream or Avaratia: Critical Circumspectis of American Dream Through Ages." International Journal of English Linguistics 9, no. 3 (2019): 57. http://dx.doi.org/10.5539/ijel.v9n3p57.

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This paper is an attempt to apply Jacques Derrida’s theory of Deconstruction to American Dream and its treatment in the language of Edward Albee’s play American Dream and other American Playwrights. Different deconstructive terms have been applied to understand and analyze the language of Albee’s The American Dream. Deconstructive terms; Différance, Erasure and Aporia have been applied to the language used by Albee to analyze the concept of American dream and its relation to its context of old American Dream as envisaged by the founding fathers and the
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28

Derrick, Patty S. "Julia Marlowe: An Actress Caught Between Traditions." Theatre Survey 32, no. 1 (1991): 85–105. http://dx.doi.org/10.1017/s0040557400009479.

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Julia Marlowe's career, 1887–1924, came at an awkward point in the history of the American theatre, a transitional period when old traditions were fading and new ones had not yet been established. During her thirty years as an actress, a heterogeneous mixture of plays was seen on the American stage: Shakespeare and other old classics, emotional dramas adapted from the French and German, melodramas old and new, early attempts at realism, problem plays. Most strikingly innovative in this period were the dramas of Ibsen, Shaw, and O'Neill (his early plays), which questioned conventional values an
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29

Tariq, Sana, and Bahramand Shah. "Environment and Literary Landscape: An Ecological Criticism of Louise Erdrich’s Novel Tracks." Global Social Sciences Review IV, no. I (2019): 158–63. http://dx.doi.org/10.31703/gssr.2019(iv-i).21.

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Connecting the environment with societies’ cultures through literature has created a new awareness of environmental issues. The current environmental crisis is a product of modern human culture. The thought of using land as a commodity and disregard for environmental ethics has worsened the ecological crisis. The paper focuses issues of environment highlighted in Native American literature. The anthropocentric behavior of Euro-Americans is contrary to Native American idea of biocentrism. For American Indians, land is considered not merely a stage on which the act is played but also as an activ
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30

Eliasberg, Galina. "The Russian-Jewish New York, the Balfour Declaration and the Revolution in Russia in Leon Kobrin's Play Back to Your People!" Judaic-Slavic Journal, no. 1 (2018): 25–43. http://dx.doi.org/10.31168/2658-3364.2018.1.2.2.

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The article analyzes Kobrin’s play Back to Your People! and the Yiddish press reviews of its performances in New York at Boris Thomashevsky’s Peoples Theater in December 1917 by A. Cahan, I. Vartsman, B. Gorin and others. Critics defined the genre of Kobrin’s play variously as “national drama”, “sentimental melodrama”, “modern sketch” and “tendentious drama” but unanimously noted that it was a direct response to the landmark events of 1917, including the Russian Revolution and the Balfour Declaration. These events triggered nationalist feelings and had a significant impact on Jewish socialists
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31

Sineokova, Tatiana Nikolaevna, Svetlana Evgenyevna Rakhmankulova, and Ekaterina Ivanovna Belyaeva. "Syntactic means of positive emotions representation in American and British drama." SHS Web of Conferences 122 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202112201004.

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The paper discusses the peculiarities of syntactic constructions presenting positive emotions in the speech of characters in dramas by modern American and British playwrights. The proposed research method suggests application of a correlative classification of extralinguistic and linguistic features including paradigmatic systems of emotional states and structural forms as an instrument for qualitative and quantitative analysis. Positive emotions are classified according to the criterion of their impact on speech-thought processes. A hierarchical paradigmatic classification of structural defor
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32

Edwards, Gwynne. "Theatre Workshop and the Spanish Drama." New Theatre Quarterly 23, no. 4 (2007): 304–16. http://dx.doi.org/10.1017/s0266464x0700022x.

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In the course of her long career as a director with Theatre Union and Theatre Workshop, Joan Littlewood staged some twenty foreign-language plays, of which three were Spanish: Lope de Vega's Fuente Ovejuna, Lorca's The Love of Don Perlimplín for Belisa in His Garden, and Fernando de Rojas's La Celestina, while there were also plans to perform Lorca's Blood Wedding. Gwynne Edwards argues in this article that Littlewood's attraction to the Spanish plays was sometimes political but always due to a similarity in performance style which, influenced by the methods of leading European theatre practit
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33

Fan, Shouyi. "Translation of English Fiction and Drama in Modern China: Social Context, Literary Trends, and Impact." Meta 44, no. 1 (2002): 154–77. http://dx.doi.org/10.7202/002717ar.

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Abstract This article, which is organized along a chronological-thematic framework, will briefly review the early days of translating American and British fiction and drama into Chinese, the social context in which these translations were done, the literary ideas which have affected the work of Chinese writers, and the social impact that translated works of literature and literary theory have had in various periods of literature. The bottom line is that the literary works introduced to China to date represent only the tip of the iceberg. We need more quality translations for Chinese readers an
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34

He, Chengzhou. "‘The Most Traditional and the Most Pioneering’: New Concept Kun Opera." New Theatre Quarterly 36, no. 3 (2020): 223–36. http://dx.doi.org/10.1017/s0266464x20000469.

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Featuring hybridity, transgression, and improvisation, New Concept Kun Opera refers to experimental performances by Ke Jun and other Kun Opera performers since the beginning of the twenty-first century. From telling the ancient stories to expressing the modern self, this new form marks the awakening of the performer’s subjectivity and develops a contemporary outlook by rebuilding close connections between Kun Opera and modern life. A synthetic use of intermedial resources contributes to its appeal to today’s audiences. Its experimentation succeeds in maintaining the most traditional while expl
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35

Khalil, Haider ibrahim, Abdullah Mohd Nawi, and Ansam Ali Flefil. "Desire Under the Elms and The Emperor Jones is a picture of tragic- conflict by O'Neill in modern American drama." Asia Proceedings of Social Sciences 6, no. 1 (2020): 53–56. http://dx.doi.org/10.31580/apss.v6i1.1244.

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This paper aims to study The Desire Under the Elms and The Emperor Jones as the pictures of conflict. The dramatist, O’Neill attempts to reveal the metaphorical expressions in the selected plays. These metaphorical expressions lead to the tragedy in modern American drama. The researchers use the qualitative method, the narrative analysis as the storytelling techniques. This study uses the conceptual metaphor theory by Lakoff and Johnson (1980-1988) to justify the metaphorical expressions in the plays of O'Neill to tackle the characters, the actions and plot in the plays mentioned above.
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36

Shin, Jisook. "The Trends and Visions of Studies in Modern British and American Drama in Studies in British and American Language and Literature." British and American Language and Literature Association of Korea 137 (June 30, 2020): 45–73. http://dx.doi.org/10.21297/ballak.2020.137.45.

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37

Eunjeong Seo. "Patriarchal Culture and Motherhood in Modern American Drama: Long Day’s Journey Into Night and The Glass Menagerie." English21 30, no. 2 (2017): 25–42. http://dx.doi.org/10.35771/engdoi.2017.30.2.002.

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38

Olshen, Barry N. "Essays on Modern American Drama: Williams, Miller, Albee, and Shepard ed. by Dorothy Parker (review)." Modern Drama 31, no. 1 (1988): 127–30. http://dx.doi.org/10.1353/mdr.1988.0004.

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39

Subedi, Tika Data. "Absurdism in Atirikta Yatra by K. S. Yatri and The American Dream by Edward Albee." JMC Research Journal 7, no. 1 (2018): 27–34. http://dx.doi.org/10.3126/jmcrj.v7i1.34357.

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The purpose of this work is to study Edward Albee and K. S. Yatri’s approach regarding the status of respective societies of America and Nepal with absurd drama following their agenda. K. S. Yatri and Edward Albee seemed to be influenced by the absurdist mode of drama which concerns much about the modern existence of social human beings. Albee follows absurdist traces in the dramatization of uncertainty, alienation and the question of freedom in The American Dream. His characters do not have fixed identities, and they suffer from their individual problems. The notion of the characters and thei
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40

Adriaensens, Vito. "The Bernhardt of Scandinavia: Betty Nansen’s Modern Breakthrough." Nineteenth Century Theatre and Film 45, no. 1 (2018): 56–80. http://dx.doi.org/10.1177/1748372718794360.

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The cinema of the 1910s witnessed the birth of the film star, modelled after theatrical strategies that were spearheaded by actresses of international renown such as Sarah Bernhardt. She can be seen to have given birth to the notion of ‘famous players in famous plays’ in 1912, though in Denmark, the influential Nordisk Films Kompagni had already invested more extensively in marketing the appeal of theatrical stars that crossed over into the realm of film by this time. I will trace how Nordic drama was marketed internationally by analysing the trajectory of one of the most important, yet underv
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41

Jannarone, Kimberly. "Performing Opposition: Modern Theater and the Scandalized Audience. By Neil Blackadder. Westport, CT: Praeger Publishers, 2003; pp. 228. $69.95 cloth." Theatre Survey 45, no. 2 (2004): 312–13. http://dx.doi.org/10.1017/s0040557404370262.

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Readers excited by the recent and growing body of work on audience studies, such as Richard Butsch's The Making of American Drama, will be pleased to discover in Neil Blackadder's Performing Opposition a lucid historical examination of a very specific kind of theatre audience: the protesting one. Covering the scandals that greeted performances of plays by Hauptmann, Jarry, Synge, O'Casey, and Brecht, Blackadder provides us with a thorough reading of the events themselves, based on extensive use of firsthand accounts, reviews, court decisions, and more, as well as with a useful contextualizatio
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42

Smith, Karina. "From Politics to Therapy: Sistren Theatre Collective's Theatre and Outreach Work in Jamaica." New Theatre Quarterly 29, no. 1 (2013): 87–97. http://dx.doi.org/10.1017/s0266464x13000080.

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Sistren Theatre Collective has been producing theatre and working with community groups in Jamaica for the last thirty-five years. Over the last decade the company has changed its profile to include male drama specialists and social workers in its team. This has come about due to new funding arrangement with the Jamaican Ministry of National Security, which won a large grant from the Inter-American Development Bank to establish the Citizen Security and Justice Programme (CSJP). The CSJP has a community outreach component in which Sistren has been employed to run socio-drama workshops and provi
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43

Tiehu, Zhang. "A Probe into the Fate of Women in the Evolution of Society—A Brief Analysis of Amanda in Tennessee Williams’ The Glass Menagerie." Studies in English Language Teaching 8, no. 3 (2020): p153. http://dx.doi.org/10.22158/selt.v8n3p153.

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Tennessee Williams is the most famous southern American playwright in twentieth century (Adler, 1994). He is known for his strong southern cultural background, especially southern women educated in a traditional gentlewoman style. The southern women of Tennessee believed that their traditional culture was the essence of human civilization and therefore of considerable value. However, such values could not be recognized in the modern industrial society. Most of these women were sensitive and tender, suffering from industrialized society, full of all sorts of evils, and they had turned to tradit
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44

Mahfouz, Safi Mahmoud. "Tragedy in the Arab Theatre: the Neglected Genre." New Theatre Quarterly 27, no. 4 (2011): 368–85. http://dx.doi.org/10.1017/s0266464x11000686.

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In this article Safi Mahmoud Mahfouz investigates the current state of tragedy in the Arab theatre and suggests some of the reasons behind the lack of an authentic Arabic tragedy developed from the Aristotelian tradition. Through analyses of the few translations and adaptations into Arabic of Shakespearean and classical tragedy, he both confirms and questions the claims of non-Arabic scholars that ‘the Arab mind is incapable of producing tragedy’. While the wider theatre community has been introduced to a handful of the Arab world's most prominent dramatists in translation, many are still larg
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45

HEDSTROM, MATTHEW S. "THE EVANGELICAL MIND IN A SECULAR AGE." Modern Intellectual History 13, no. 3 (2015): 805–17. http://dx.doi.org/10.1017/s1479244315000165.

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“Secular intellectuals have not been kind to the evangelical mind,” writes historian Molly Worthen in the opening sentence of Apostles of Reason: The Crisis of Authority in American Evangelicalism. Her history of evangelical thought after World War II is an extended effort to understand why. The answers, it turns out, entail not only specific and important critiques of evangelical theology, but also much larger trajectories in the modern intellectual history of the United States. Theology, after all, was once “the queen of the sciences,” the very foundation of all other intellectual labor, and
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46

Gaidash, A. "SPECIFICS OF INTERGENERATIONAL CONFLICT IN MODERN AMERICAN DRAMA (A CASE STUDY OF THE TRIP TO BOUNTIFUL, THE OLDEST LIVING GRADUATE, BETWEEN RIVERSIDE AND CRAZY)." Studia Philologica, no. 2 (2019): 98–105. http://dx.doi.org/10.28925/2311-2425.2019.13.14.

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The subject of the paper is the way of tackling late adulthood in terms of intergenerational conflicts in three plays of modern US drama. In the framework of literary gerontology the author of the article studies current views on the subject provided by British scolars (M.Hepworth, M.Mangan, J.King). A sociological perspective suggests a methodological instrument of the solidary-conflict model as an emergent construct of intergenetational ambivalence (Giarrusso, Bengtson, Lowenstein). The topic of the research is the study of specifics of intergenerational relationships between aging parents a
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47

Stalter-Pace, Sunny. "Underground Theater." Transfers 5, no. 3 (2015): 4–22. http://dx.doi.org/10.3167/trans.2015.050302.

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This article begins from the premise that modern American drama provides a useful and understudied archive of representations of mobility. It focuses on plays set on the New York City subway, using the performance studies concept of “restored behavior” to understand the way that these plays repeat and heighten the experience of subway riding. Through their repetitions, they make visible the psychological consequences of ridership under the historical and cultural constraints of the interwar period. Elmer Rice's 1929 play The Subway is read as a particularly rich exploration of the consequences
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48

Roberts, Matthew. "Ajax in America, or Catharsis in the Time of Terrorism." New Theatre Quarterly 36, no. 4 (2020): 306–19. http://dx.doi.org/10.1017/s0266464x20000652.

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Originally funded by the US Department of Defense in 2009, Theater of War Productions’ first project, Theater of War, performs dramatic readings of Ajax at military bases, hospitals, and academic institutions throughout the United States. Developed by Bryan Doerries, Theater of War brings awareness to the epidemic of suicide and other forms of violence committed by American military service members in the wake of the United States’ so-called ‘war on terror’. But like Ajax, American military personnel typically turn to violence only after being betrayed by the institutions that they served. Thi
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49

Schaller, Michael. "American Shogun: General MacArthur, Emperor Hirohito, and the Drama of Modern Japan, and: America's Japan: The First Year, 1945-46 (review)." Journal of Military History 70, no. 4 (2006): 1175–77. http://dx.doi.org/10.1353/jmh.2006.0275.

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50

Féral, Josette. "‘The Artwork Judges Them’: the Theatre Critic in a Changing Landscape." New Theatre Quarterly 16, no. 4 (2000): 307–14. http://dx.doi.org/10.1017/s0266464x00014056.

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The functions of the critic in the theatre and of his or her responsibilities towards the theatre have long been debated and disputed, and are now in a state both of flux and contradiction – flux, because of the rapidly changing state of the media in which criticism is published and the new forms which ‘publication’ can now take; contradiction, because of the dual perception of criticism as at once an ‘offensive’ art and an ‘art of solidarity’. Especially for the critic of theatre, the dilemma has always been heightened not only by the ephemerality of the art to which the review gives a vicari
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