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Journal articles on the topic 'New York Living Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 February 2023

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1

Olsen, Christopher. "Off-Off-Broadway Explosion: How Provocative Playwrights of the 1960s Ignited a New American Theater. By David A. Crespy. New York: Back Stage Books, 2003; pp. 192; 32 illus. $19.95 paper." Theatre Survey 46, no. 2 (October 25, 2005): 349–51. http://dx.doi.org/10.1017/s004055740539020x.

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David Crespy's account of Off-Off Broadway's roots in New York City is a welcome addition to a growing body of scholarship on this vibrant period in American theatre history. Many authors writing on this era have limited themselves to focusing on particular theatre groups, such as the Living Theatre, Café Cino, and the Open Theatre, or on the work of specific playwrights, such as Maria Irene Fornés, Sam Shepard, and Edward Albee. More historical accounts are needed to examine a cross section of theatre practitioners in the context of the political and artistic movements of the 1960s. Crespy has managed to do this to some degree, and has even convinced the elusive Edward Albee to write a foreword.

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2

Bentley, Eric, Robert Brustein, and Stanley Kauffmann. "The Theatre Critic as Thinker: a Round-Table Discussion." New Theatre Quarterly 25, no. 4 (November 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 vision of the theatre that he shared with Bentley and Brustein. Collectively, these three critics championed the European modern dramatists, like Pirandello, Brecht, Beckett, and Genet, whose plays were rarely if ever performed on Broadway. They also embraced the early work of performance groups such as Julian Beck and Judith Malina's Living Theater when they were either ignored or deplored by most mainstream reviewers. Above all, they challenged the time-honoured idea that the primary goal of the theatre is to provide the audience with an emotional catharsis achieved by realistically identifying with the dramatic protagonist. By contrast, Bentley, Brustein, and Kauffmann championed a theatre that emphasized poetic stylization, intellectual seriousness, and social engagement. The discussion which follows, held on 27 October 2007 at the Philoctetes Center, New York, examines the legacy of these leading American theatre critics of the past fifty years. Bert Cardullo, who transcribed and edited the discussion, was Stanley Kauffmann's student at the Yale School of Drama and is the author, editor, or translator of many books, among them Theater of the Avant-Garde, 1889–1950, What Is Dramaturgy?, and American Drama/Critics: Writings and Readings.

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3

Rosenthal, Cindy. "Circling Up with The Assembly: A Theatre Collective Comes of Age." TDR/The Drama Review 60, no. 3 (September 2016): 64–95. http://dx.doi.org/10.1162/dram_a_00571.

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The Assembly is alive and well and living in New York (since 2008), creating group-devised theatre that interrogates The Weather Underground’s activism (HOME/SICK); economic and racial inequalities in the 21st century (That Poor Dream); and aging, art, and self-expression in America (I Will Look Forward To This Later). This young company of directors, designers, dramaturgs, writers, and performers celebrates the legacies of their avantgarde forebears by collectively making visually, aurally, and physically inventive political art that strives to build community.

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4

Kott, Jan. "The Two Hells of Doctor Faustus: a Theatrical Polyphony." New Theatre Quarterly 1, no. 1 (February 1985): 7–18. http://dx.doi.org/10.1017/s0266464x0000138x.

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The first article in the first issue of the original TQ was a piece by Jan Knott, utilizing the concept of the absurd as a means of understanding Greek tragedy. Recently, his essays, of which many first appeared in TQ, have been published in a new collection, The Theatre of Essence, from Northwestern University Press. Kott's idiosyncratic approach to the interpretation of theatre texts continues to distinguish him as one of those rare literary critics whose insights illuminate the play in production – the reflection in the Brook–Scofield King Lear of his Beckettian interpretation in the seminal Shakespeare Our Contemporary being just the most famous instance. Now Jan Kott, who teaches at the State University of New York, Stony Brook, turns to the world of Shakespeare's own contemporary, Christopher Marlowe, and examines Doctor Faustus as the meeting-place of many kinds of Elizabethan and pre-Elizabethan theatre, contributing to an understanding of the play that is rooted not in a dead theology but in a living theatricality.

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5

Cox, Jordana. "The Loudspeaker and the Little Man: Mass Media and Democratic Participation in the Federal Theatre Project’s One-Third of a Nation." Journal for the History of Rhetoric 23, no. 2 (May 2020): 121–47. http://dx.doi.org/10.5325/jhistrhetoric.23.2.0121.

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ABSTRACT In a 1938 hearing with the House Un-American Activities Committee (HUAC), director Hallie Flanagan claimed that the U.S. Federal Theatre Project (FTP) (1935-9), which she led, disseminated “propaganda for democracy.” In this paper, I explore the possibilities of propaganda for democracy to describe FTP rhetoric. My focus is a body of work that greatly concerned HUAC. Living Newspapers were full-length, documentary plays about hot-button issues. At the New York Living Newspaper Unit (NYLNU), where journalists and theatre-makers worked side-by-side, Living Newspapers wove original reporting into dramatic narratives. Using theatrical conventions, they reimagined democratic communication for a mass society. My case study is the NYLNU’s most popular Living Newspaper. “One-Third of a Nation” was most explicitly about the lack of affordable housing across the U.S. It was also, however, about how to participate in democratic life. More specifically, it was about how to look at, listen to, and speak up about social issues. One-Third of a Nation addressed these themes by way of two recurring characters: a resounding Loudspeaker, and a plucky Little Man who represented the “average” citizen. Their interplay modeled propaganda for democracy as a dynamic relationship between responsive mass media and self-conscious public speech.

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6

Cox, Jordana. "The Phantom Public, the Living Newspaper: Reanimating the Public in the Federal Theatre Project's1935(New York, 1936)." Theatre Survey 58, no. 3 (August 10, 2017): 300–325. http://dx.doi.org/10.1017/s0040557417000266.

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Stories of American democracy, whether critical or congratulatory, canonical or popular, feature “the public” as their recurring protagonist. “The public” is a rhetorical fixture of political campaigns and democratic theories, opinion polls and calls to action. Its influence is formidable: the very idea scores political speech, and calls citizens into being. Yet as many scholars have argued, “the public” is a moving target, and possibly even a total fiction. Perhaps the best-known challenge in recent decades has come from literary critic and social theorist Michael Warner. “Publics” he writes in hisPublics and Counterpublics,“have become an essential part of the social landscape, and yet it would tax our understanding to say exactly what they are.” If a public is difficult to describe, it is in part, Warner explains, because the idea hovers in modern imaginaries between the concrete and the abstract. “A public” can conjure at once: a bounded audience—“a crowd witnessing itself in visible space”; a more abstract “social totality” like the constituents of a nation; and a community conjured through shared texts or identities.

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7

FARRINGTON, HOLLY. "“I Improvised behind Him…Ahead of Time”: Charles Mingus, Kenneth Patchen and Jazz/Poetry Fusion Art." Journal of American Studies 41, no. 2 (July 5, 2007): 365–74. http://dx.doi.org/10.1017/s0021875807003519.

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In the last two weeks of March 1959, the jazz bassist Charlie Mingus and the beat poet Kenneth Patchen performed on stage together at the Living Theatre in New York City. Mingus and his band improvised to jazz themes at the back, while Patchen read simultaneously from his poetry at the front. This article examines in detail both Patchen's and Mingus's work with jazz/poetry fusion art and positions these collaborations within the context of the wider movement. It explores the artistic relationship between Mingus and Patchen and examines and contextualizes these performances within the jazz aesthetic.

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8

Labeija, Kia. "Rebirth." TDR/The Drama Review 60, no. 4 (December 2016): 2–3. http://dx.doi.org/10.1162/dram_a_00589.

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Kia Labeija was born and raised in the heart of New York City’s theatre district, Hellz Kitchen. Her multidisciplinary practice explores the intersections of community, politics, fine arts, and activism. Her digital portraits offer theatrical and cinematic re-imaginings of nonfictional events. As a member of the iconic House of Labeija and an active member of NYC’s ballroom scene, she offers the art of Voguing as both a performance and community-based practice. Labeija speaks publicly on the subject of HIV/AIDS as an advocate for the underrepresented living with HIV, including long-term survivors, women, minorities, and children born with the virus.

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9

Schechner, Richard. "Quo Vadis, Performance History?" Theatre Survey 45, no. 2 (November 2004): 271–74. http://dx.doi.org/10.1017/s0040557404000249.

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Frankly, I'm not much of a historian. That is, the past interests me mostly as grist for my theoretical mill. I am not nostalgic. I don't often trek through ruins—whether of stone, paintings, videotape, paper, library stacks, or my own many notebooks. Of course, I've done the right thing when it comes to this kind of activity. I have climbed the pyramids at Teotihuacan and in Mayan country, sat on stone benches of the Theatre of Dionysus in Athens and in Epidaurus (where I was tormented by some really awful productions of ancient Greek dramas), and visited the theatre museums of four continents. On the art-history front, I've gazed at more paintings and sculptings than I can readily organize in memory. But my strongest meetings with “history” have been at the cusp of the past and present—living events always already changing as they are (re)performed. This has been the core of my “anthropology-meets-theatre” work whether among the Yaquis of Arizona, at the Ramlila of Ramnagar in India, in the highlands of Papua–New Guinea, at Off-Off Broadway in New York, in the interior of China, and at very many other events in a wide variety of places.

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10

Mason, Jeffrey D. "American Theatre in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962. By Bruce A. McConachie. Studies in Theatre History & Culture. Iowa City: University of Iowa Press, 2003; pp. xiv + 347; 15 illus. $49.95 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 341–43. http://dx.doi.org/10.1017/s0040557405360200.

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From 1947 to 1962, Broadway audiences enjoyed major works by Tennessee Williams and Arthur Miller as well as plays ranging from A Thousand Clowns to Who's Afraid of Virginia Woolf? and a string of durable musical comedies offering light and dark visions of the urban streets (Guys and Dolls and West Side Story), inspirational fables (The Music Man and The Sound of Music), and war in legend and in recent memory (Camelot and South Pacific). Meanwhile, Judith Malina and Julian Beck founded the Living Theatre, José Quintero and Theodore Mann established the Circle in the Square, Joe Papp offered his first free Shakespeare productions in New York City parks, and Joe Cino and Ellen Stewart led the development of Off-Off Broadway. This heterogeneous theatre scene comprised diverse and even competing representations of a complex but interconnected culture, and Bruce A. McConachie has undertaken the task of elucidating the workings of such art not in isolation but as cultural and social production.

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11

Bharucha, Rustom. "Kroetz's ‘Request Concert’ in India, Part Two: Bombay." New Theatre Quarterly 3, no. 12 (November 1987): 377–88. http://dx.doi.org/10.1017/s0266464x00002517.

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In the first of this series of three articles, published in NTQ 11, the director Rustom Bharucha – born in India. but living and working mainly in New York – described how he initially became intrigued by the idea of transposing Franz Xaver Kroetz's play without words, Request Concert, concerning the last evening in the life of a very ordinary German woman, into a variety of Asian contexts. His ambition was first realized – in collaboration with fellow-director Manuel Lutgenhorst, and with valued assistance from the International School of Theatre Anthropology – in a production mounted in Calcutta, with the actress Joya Sen. The following account of the second production, in Bombay, illuminates both the varieties of Indian urban life and the varieties of theatrical experience, with fascinating insights into the nature of Bombay's competitive, media-saturated society, and the perceptions of the actress Sulabha Deshpande concerning her role and its technical requirements – and how both shed new light on this play and on the nature of theatricality.

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12

Anderson, Michael. "Living Greek Theatre: A Handbook of Classical Performance and Modern Production. By J. Michael Walton. New York, Westport & London: Greenwood Press, 1987. Pp. ix + 436." Theatre Research International 14, no. 2 (1989): 186–89. http://dx.doi.org/10.1017/s0307883300006167.

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13

Savran, David. "The Theater of Tony Kushner: Living Past Hope. By James Fisher. New York: Routledge, 2001; pp. 274 + illus. $85 hardcover." Theatre Survey 44, no. 01 (May 2003): 111–13. http://dx.doi.org/10.1017/s0040557403210073.

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14

Adams, Corey, R. Scott McClure, Aashish Goela, Daniel Bainbridge, William J. Kostuk, and Bob Kiaii. "Simultaneous Robotic-Assisted Mitral Valve Repair and Percutaneous Coronary Intervention." Innovations: Technology and Techniques in Cardiothoracic and Vascular Surgery 5, no. 5 (September 2010): 375–77. http://dx.doi.org/10.1097/imi.0b013e3181f8f89d.

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We present a case report of a robotic-assisted mitral valve repair with simultaneous percutaneous coronary intervention. A 58-year-old man presented with New York Heart Association class III symptoms from severe mitral regurgitation and significant stenosis of the right coronary artery. In a hybrid operating theater, the patient underwent placement of a bare metal stent in the right coronary artery followed immediately by robotic-assisted mitral valve repair. Both procedures were successful and occurred in a timely fashion. The patient experienced no immediate postoperative complications and was discharged home on postoperative day 5. At 2-week follow-up, he had returned to his normal activities of daily living and at 1 year remained asymptomatic. This case report demonstrates the benefits of minimally invasive robotic mitral valve repair in allowing for successful repair, early postoperative return to activity, minimal incision pain, and high patient satisfaction. It further highlights the potential benefit of a hybrid operating theater in allowing surgical and percutaneous coronary intervention procedures to be delivered in a safe and efficient manner.

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15

Shepard, Benjamin. "Urban Spaces as Living Theater: Toward a Public Space Party for Play, Poetry, and Naked Bike Rides (New York City, 2010-2015)." Revue Française d Etudes Américaines 146, no. 1 (2016): 107. http://dx.doi.org/10.3917/rfea.146.0107.

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16

CROW, BRIAN. "James FisherThe Theater of Tony Kushner: Living Past Hope New York; London: Routledge, 2001. 288 p. $19.95. ISBN 0-415-94271-3." New Theatre Quarterly 20, no. 2 (April 21, 2004): 199. http://dx.doi.org/10.1017/s0266464x04300096.

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17

Jackson, Anthony. "Lorraine Brown, ed, Liberty Deferred and Other Living Newspapers of the 1930s Federal Theatre ProjectFairfax: George Mason University Press. 1989. 316 p. ISBN 0-913969-20-6. - George Kazacoff Dangerous Theatre: the Federal Theatre Project as a Forum for New PlaysNew York: Peter Lang, 1989. 369 p. $39.00. ISBN 0-8204-0752-6." New Theatre Quarterly 10, no. 39 (August 1994): 297. http://dx.doi.org/10.1017/s0266464x00000701.

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18

Gildin, Marsha, Rose Binder, Irving Chipkin, Vera Fogelman, Billie Goldstein, and Albert Lippel. "Learning by Heart: Intergenerational Theater Arts." Harvard Educational Review 83, no. 1 (March 26, 2013): 150–52. http://dx.doi.org/10.17763/haer.83.1.r16186gr82t78471.

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We are a lucky group of older adults, ranging in age from sixty to ninety-two, who participate in an intergenerational arts program at our local senior center in Flushing, Queens, one of New York City's most culturally diverse communities. In our living history theater program, run by Elders Share the Arts (ESTA) and facilitated by ESTA teaching artist Marsha Gildin, we are joined weekly by fifth graders from PS 24, a public elementary school located around the corner. Some of our senior members joined just last year, while others have been involved for more than a decade. Our relationship with the children is very special and mutually nourishing. ESTA guides us in sessions based on sharing stories from life experience and in transforming memories into art. We explore our ideas through theater exercises and devise an original piece rooted in what we have learned from one another. Rehearsals are an ensemble learning process. With forty-five people on stage during our performances at the senior center and school, the performance experience is always challenging, surprising, and well received. We connect strongly with the children during the program year, and our goodbyes are tinged with sadness, for we have grown close in our shared art making. This year our theme focused on the power of music in our lives.

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19

Crespán, Araceli González. "The Cuban Rafter Crisis on Stage: Humanizing the Experience of Refugees in María Irene Fornés’ Manual for a Desperate Crossing." American, British and Canadian Studies 39, no. 1 (December 1, 2022): 100–120. http://dx.doi.org/10.2478/abcsj-2022-0019.

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Abstract The Cuban-born playwright María Irene Fornés (1930-2018) repeatedly dealt with migration in several plays throughout her long career in theater, sometimes presenting characters who were immigrants living in New York (Sarita) or resorting to correspondence between distant relatives separated in different countries (La Viuda, Letters from Cuba). Manual for a Desperate Crossing was her response to the Cuban Rafter Crisis of the mid-1990s. The article analyzes how the playwright makes use of a combination of objective and subjective strategies to counteract the dehumanizing effect of media coverage, shifting the focus to the individuals who risked their lives in the perilous crossing of the Caribbean Sea in rickety rafts from Cuba to the Florida shores. The emphasis on the transit as a theme and the mixture of instructional, technical discourses with highly stylized stage design and different audiovisual media forces us to look in a different, immersive way that generates empathy towards the refugees.

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20

Polin, Claire. "Conversations in Leningrad, 1988." Tempo, no. 168 (March 1989): 15–20. http://dx.doi.org/10.1017/s004029820002489x.

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Certainly it was the year to visit the USSR, as one rubbed shoulders with pre-Summit reporters awaiting Reagan/Gorbachev, and pilgrims celebrating the millennium of Christianity in Russia. Wandering up the Nevsky Prospekt, you saw musicians hurrying with instrument cases in hand; and whichever way you crossed the Neva or the canals, the babel of language sounded like a session at the United Nations. As Tikhon Khrennikov (still Chairman of the Composers Union 40 years after its notorious 1948 Congress) pointed out in his welcoming address at the opening concert, the Festival's purpose was ‘for building spiritual bridges between nations using music as the unique and indispensable means of communication’. Stylistic restrictions were withdrawn so that listeners would get an unusually broad idea of the ‘many-sided panorama of modern musical art’. Thus, not only ‘serious’ music but also pop, jazz, folk, and traditional musics were performed. Having attended the previous two Festivals, it was very interesting to observe the progressive attitude of the Third. Not only was there more of everything, but more variety: not only symphonic, chamber, and choral music events, but also organ recitals, modern violin music, opera, children's theatre, a song evening, and even one for light music. Not only did the best Soviet conductors and performers participate, but also the New York Philharmonic, the BBC Welsh Symphony Orchestra, jazz groups of the USSR and elsewhere, and the British avant-garde vocal group ‘Electric Phoenix’. Although the concerts were heavily weighted with Soviet works, still almost 40 countries were represented (from Cuba to Mongolia) with works by more than 150 living composers.

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21

Hassan, Salah M. "Ahmed Morsi." Nka Journal of Contemporary African Art 2020, no. 47 (November 1, 2020): 22–43. http://dx.doi.org/10.1215/10757163-8719616.

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Born in Alexandria, Egypt, in 1930, Ahmed Morsi is a multitalented artist who seamlessly moves between different genres and modes of creative expression. A brilliant painter, an eloquent poet, and a sharp art and literary critic whose career has spanned more than seven decades, his work has been enriched by the experience of living in three continents. While Morsi’s oeuvre is the embodiment of polyphony, a unifying force that defies any singular reading is the surrealist spirit that permeates his work across different mediums. The retrospective Ahmed Morsi: A Dialogic Imagination, held at the Sharjah Art Museum in 2017, captured the artist’s restless artistic spirit with a display of the intertextuality and multiplicity of voices through which Morsi expresses his creative talent and endless experimentation. This article references the Sharjah show and offers a survey of Morsi’s career, accompanied by a select number of images of his oeuvre from his early days in his native Alexandria to his sojourns in Baghdad and Cairo, and his current practice in New York City, where he has been living since 1974. It also offers a glimpse, in image and in text, of his diverse corpus of literary works, theater set designs, book covers, as well as rare photographs. In tandem with the Sharjah exhibition and the soon-to-be-published catalogue, the author offers a historical assessment and critical appraisal of Morsi’s accomplishments that will enable readers to appreciate the artist’s remarkable endeavors and experimentations over more than six decades of commitment to creativity in art and literature.

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22

Waldman, Gloria F. "Hispanic Theatre in New York." Journal of Popular Culture 19, no. 3 (December 1985): 139–48. http://dx.doi.org/10.1111/j.0022-3840.1985.1903_139.x.

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23

Hornby, Richard. "Theatre Companies in New York." Hudson Review 40, no. 1 (1987): 113. http://dx.doi.org/10.2307/3850910.

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24

Fogel, Jerise, and Haas Regen. "The Alcestiad, Magis Theatre Company, New York, New York." Thornton Wilder Journal 2, no. 2 (December 1, 2021): 239–54. http://dx.doi.org/10.5325/thorntonwilderj.2.2.0239.

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25

Foulkes, Richard. "An Englishman Abroad Louis Calvert at the New Theatre, New York." Theatre Research International 18, no. 3 (1993): 177–85. http://dx.doi.org/10.1017/s0307883300017892.

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In November 1909 William Archer wrote an article for McClure's Magazine in which he surveyed developments in the American theatre over the past twenty years. The most innovative work had been undertaken by non-commercial companies, such as Victor Mapes' Chicago repertory and Winthrope Ames' Castle Square Theatre in Boston, and in the universities: ‘Brander Matthews at Columbia, W. L. Phelps at Yale, and George P. Baker at Harvard’. These ventures took as their models Antoine's Théâtre Libre in Paris; the Freie Bühne in Berlin; J. T. Grein's Independent Theatre, the Stage Society, Vedrenne-Barker at the Court, the Abbey Theatre in Dublin, the Gaiety Theatre in Manchester and Charles Frohman's proposed repertory company at the Duke of York's Theatre. However whereas in the 1890s the progressive theatre in America had been heavily dependent on the European repertoire of plays, when he returned in 1907 Archer found ‘the scene entirely changed’:

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26

Levine, Debra. "Dana H.: Vineyard Theatre, New York, NY." PAJ: A Journal of Performance and Art 43, no. 3 (2021): 57–60. http://dx.doi.org/10.1162/pajj_a_00583.

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27

Loney, Glenn. "Survival Strategies in New York Theatres." New Theatre Quarterly 11, no. 41 (February 1995): 79–90. http://dx.doi.org/10.1017/s0266464x00008915.

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IN THE SEASON of 1893–94, theatregoers in New York would hardly have realized that ‘Broadway’, as a theatre centre, had just come into being. In fact, 1900 would seem a more appropriate date, but business in the commercial theatre in recent seasons has been so hazardous that the League of American Theatres decided to jump-start the past season with a putative centenary salute, ‘Celebrate Broadway: 100 Years in Times Square’. It was a brave attempt and resulted at least in some interesting historical exhibits. Unfortunately, these only served to remind the viewers of Broadway's glory-days years ago.

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28

Babnich, Judith, and Alex Pinkston. "The Omaha Magic Theatre: An Alternative Theatre for Mid-America." Theatre Survey 30, no. 1-2 (May 1989): 127–44. http://dx.doi.org/10.1017/s004055740000082x.

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Aspiring young actors traditionally leave their hometowns to seek training and performance experiences in America's theatre centers. Many choose to study and perform in New York City, and they carry with them to New York the naive assumption that only in the “Big Apple” can a theatre artist's dreams come true. But some become disenchanted with the New York theatre scene and gain a determination to create significant, non-commercial theatre in another part of the country. And, on occasion, they erect their alternative stages in the very towns from which they sprang.

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29

Cermatori, Joseph. "The Inheritance: Ethel Barrymore Theatre, New York, NY." PAJ: A Journal of Performance and Art 43, no. 3 (2021): 33–35. http://dx.doi.org/10.1162/pajj_a_00575.

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30

Cermatori, Joseph, Miriam Felton-Dansky, and Ryan Anthony Hatch. "Community Theatre: The New York Season 2013–14." PAJ: A Journal of Performance and Art 36, no. 3 (September 2014): 14–33. http://dx.doi.org/10.1162/pajj_a_00216.

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31

Tyszka, Juliusz. "Grotowski in New York City, 1993: Expectations, Hopes, and Stereotypes." New Theatre Quarterly 35, no. 02 (April 15, 2019): 150–68. http://dx.doi.org/10.1017/s0266464x1900006x.

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The legacy of Jerzy Grotowski twenty years after his death still presents a powerful challenge for theatre-makers, not only in experimental theatre, and theoreticians – which is also how it was during his life. This retrospect by Juliusz Tyszka on the Grotowski seminar organized by Robert Findlay and Robert Taylor for the Program in Educational Theatre, at New York University in February 1993, is a testimony to his achievements, offering insights into the opinions and reflections of American artists, critics, and scholars on the importance of Grotowski, and the impact of his theatrical output both on world theatre, and specifically in the US. Tyszka sets their views within the Polish background he shares with Grotowski. The climax of the seminar in a meeting with Grotowski himself, following a film recording of The Constant Prince, is fully described. In 1992/93 Juliusz Tyszka was a Fulbright visiting scholar in the Department of Performance Studies at NYU. He is an advisory editor of NTQ and a regular contributor to the journal. Since 2008 he has been Head of the Unit of Performance Studies, Institute of Cultural Studies, Adam Mickiewicz University at Poznań, Poland.

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32

Sperdakos, Paula. "Dora Mavor Moore: Before the New Play Society." Theatre Research in Canada 10, no. 1 (January 1989): 43–64. http://dx.doi.org/10.3138/tric.10.1.43.

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When Dora Mavor Moore founded the New Play Society in Toronto in 1946, she was already close to sixty years old and had been working in the theatre as actress, director, producer and teacher for almost forty years. During those years, Canada had virtually no indigenous professional theatre; it was the amateur stage that kept Canadian theatre alive. Her work from 1906 to 1946 serves as evidence not only of what forms Canadian theatrical activity took, but also of what it meant to make one's living in the theatre then.

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33

Krasner, David, Lisa M. Anderson, Nadine George-Graves, John Rogers Harris, Barbara Lewis, Henry Miller, and Harvey Young. "African American Theatre." Theatre Survey 47, no. 2 (September 12, 2006): 191–97. http://dx.doi.org/10.1017/s0040557406000159.

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David Krasner: In surveying contemporary London theatre, New York Times critic Ben Brantley reported that the Tricycle Theatre hadinaugurated a season of African-American plays with the commandingly titled but obscure Walk Hard, Talk Loud, a play by Abram Hill from the early1940's. Abram who? The name meant nothing to me, but Abram Hill (1910–1986) was a founder and director of the American Negro Theater in New York (1940–1951) and a playwright, it seems, of considerable verve.3That Abram Hill and the American Negro Theatre—the most important black theatre company during the mid-twentieth century—has flown below the radar is indicative of how much work still needs to be accomplished.

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Aalbers, Manuel. "Williamsburg, New York: 'living apart together'." AGORA Magazine 17, no. 1 (February 1, 2001): 34–36. http://dx.doi.org/10.21825/agora.v17i1.9148.

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35

Breaux, Shane. "Caroline, or Change: Roundabout Theatre Company, New York, NY." PAJ: A Journal of Performance and Art 43, no. 3 (2021): 51–53. http://dx.doi.org/10.1162/pajj_a_00581.

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36

Friedman, Dan. "Theatre, Community, and Development: The Performance Activism of the Castillo Theatre." TDR/The Drama Review 60, no. 4 (December 2016): 68–91. http://dx.doi.org/10.1162/dram_a_00596.

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The Castillo Theatre’s three decades of making theatre as part of an ongoing politically progressive community-building project in New York City is a new concept/practice of political theatre. Its radical statement is located not primarily in what’s presented onstage, but with those who make the theatre collaboratively, approaching social change activism performatively rather than ideologically.

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Sant, Toni. "Suzuki Tadashi and the Shizuoka Theatre Company in New York." TDR/The Drama Review 47, no. 3 (September 2003): 147–58. http://dx.doi.org/10.1162/105420403769041446.

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In this conversation, Suzuki talks about his work as artistic director of the Shizuoka Performing Arts Center. He discusses his training method, his work with Anne Bogart, the Theatre Olympics, and the need to devise strategies for transmitting knowledge across cultures from one generation to the next.

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Koger, Alicia Kae, and Jack W. McCullough. "Living Pictures on the New York Stage." Theatre Journal 37, no. 2 (May 1985): 250. http://dx.doi.org/10.2307/3207093.

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Demeshchenko, Violeta. "Oriental Motives in the Aesthetics of the New Theater of Gordon Craig." Culturology Ideas, no. 14 (2'2018) (2018): 68–78. http://dx.doi.org/10.37627/2311-9489-14-2018-2.68-78.

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The article is an attempt to rethink the creativity of a well-known English director, artist, screenwriter and journalist Gordon Craig who, in his professional work, preferred the traditions of the Eastern Theatre (China, India, and Japan) and their aesthetics. The director also was fond of the ideas of symbolism, which made it possible to use the forms of figurative poetic and associative thinking effectively in theatrical performances being the means of transferring an emotional idea. The article also reveals the creative stages of the prominent English director Gordon Craig emphasising his theatrical experiments through the prism of oriental art, as well as how the director’s work as a whole influenced the formation of a new aesthetic tradition of the European theatre of the twentieth century. Undoubtedly, in the tradition of oriental art and theatre, Craig sought to borrow those living forms that could serve the creation of a new theatre; traditions verified by time could become a solid foundation for creative experimentation. Craig believed that new independent theatre art could arise only based on innovation, which includes the living knowledge of the theatrical past and the synthesis of all the achievements of European and Eastern culture. Craig’s experiments, conducted in the early twentieth century, his theoretical concepts of spatial construction of a spectacle, a new stage design, acting game and the philosophy of the super-puppets entirely influenced the entire theatre art of the twentieth century.

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Loney, Glenn. "A Theatre of Pre-Depression: Economics and Apathy in New York." New Theatre Quarterly 8, no. 32 (November 1992): 313–20. http://dx.doi.org/10.1017/s0266464x00007090.

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In an article in NTQ22 (May 1990), Glenn Loney clarified, with special concern for a British readership, the many ‘Factors in the Broadway Equation’. In NTQ 30 (May 1992), he took a closer look at the productions of the 1990–91 season, with its glut of musicals, from the lavish to the just plain lousy, economic ‘single-person shows’ – and the sometimes more challenging products of the off-Broadway and not-for-profit sectors. Here, he continues to trace the long decline of the ‘fabulous invalid’ through the season of 1991–92 – a season overshadowed by the death of Joe Papp, the mourning for a great showman mixed with concern for the future of his Public Theatre enterprises. The paucity of productions on Broadway – where, while one show could lose its backers four million dollars overnight, Peter Pan took American audiences happily back to the traditions of English pantomime – continued to contrast with signs of life elsewhere, and new productions marked milestone-anniversaries for La Mama and the Manhattan Theatre Club. Glenn Loney, is a widely published theatre writer and teacher based in New York.

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HAENNI, SABINE. "‘A Community of Consumers’: Legitimate Hybridity, German American Theatre, and the American Public." Theatre Research International 28, no. 3 (October 2003): 267–88. http://dx.doi.org/10.1017/s0307883303001135.

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German American theatre in late nineteenth- and early twentieth-century New York City became a model for both a national American theatre and other diasporic theatres in the US. This theatre aspired to an autonomous, class-free, universal culture, which was seen as the legacy of a German Enlightenment tradition epitomized by Schiller's national(izing) theatre. German Americans were thus exceptionally positioned to claim the ideology of a universal culture as a national characteristic. At the same time, however, the theatre was structured by market demands and the need to appeal to a diverse German American constituency. This oscillation between idealistic and commercial culture made the German American theatre attractive. In the end, the theatre not only helped legitimize New York City's cultural periphery, but became a model when a new American ‘national’ culture, the national theatre, was being imagined, which ultimately illustrates the importance of the concept of legitimacy for hybrid public cultures.

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Rod, David K. "Trial by Jury: An Alternative Form of Theatrical Censorship in New York, 1921–1925." Theatre Survey 26, no. 1 (May 1985): 47–61. http://dx.doi.org/10.1017/s0040557400000326.

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Between 1921 and 1925, an experimental form of nongovernmental censorship of the theatre was developed and practiced in New York City. Referred to variously as volunteer juries, citizens' juries, or the play-jury system, the experiment attempted to overcome the shortcomings of existing legal controls on the theatre and to relieve public concerns about the exploitation of sexually suggestive and obscene materials in stage plays. Although the play-jury system was short-lived, a review of its brief career reveals significant accomplishments and can provide a clearer picture of some of the issues confronting the American theatre in the first part of the twentieth century.

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Ballet, Arthur H. "After-Dinner Thoughts of America's Oldest Living Dramaturg." New Theatre Quarterly 10, no. 37 (February 1994): 24–27. http://dx.doi.org/10.1017/s0266464x00000051.

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Arthur Ballet was a dramaturg in America before the English-language theatre really knew that such a theatrical functionary had long been leading a curious backstairs life in the theatres of central Europe. He directed and taught theatre at the University of Minneapolis for many years until, in 1961, he became Director there of the grandly-entitled Office for Advanced Drama Research – in which capacity he not only gave unstintingly of time and advice to hundreds of aspirant playwrights, but guided their work towards likely outlets, and selected and edited no fewer than thirteen volumes of new work in the Playwrights for Tomorrow series. He was also a regular dramaturg for the O'Neill Playwrights' Conference, and later served in that role at the Guthrie Theatre. During the Carter years Arthur Ballet was director of the theatre programme for the National Endowment for the Arts. In 1975 he became an advisory editor of Theatre Quarterly, as he has been of NTQ from our first issue. What follows is an after-dinner speech made to an association whose very existence would have seemed an improbability just a few decades ago – the Literary Managers and Dramaturgs of the Americas, to whom he here addresses some words of practical advice and cautionary wisdom.

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Kirkkopelto, Esa. "Actor without a theatre (new ways of living, being and training)." Theatre, Dance and Performance Training 13, no. 4 (October 2, 2022): 623. http://dx.doi.org/10.1080/19443927.2022.2135860.

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45

Portnoy, Edward. "Modicut Puppet Theatre: Modernism, Satire, and Yiddish Culture." TDR/The Drama Review 43, no. 3 (September 1999): 115–34. http://dx.doi.org/10.1162/105420499760347360.

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46

Malpede, Karen. "Theatre of Witness: Passage into a New Millennium." New Theatre Quarterly 12, no. 47 (August 1996): 266–78. http://dx.doi.org/10.1017/s0266464x00010265.

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Karen Malpede's monologue, ‘Baghdad Bunker’, whose origins in an experience of vicarious empathy she describes in the following article, was first performed by Ruth Maleczech at La Mama in June 1991. It subsequently became the centrepiece of Malpede's play Going to Iraq, about life in New York during the Gulf War. Later, in The Beekeeper's Daughter, she addressed our lack of empathy in the face of ‘racial cleansing’ in the former Yugoslavia. Here, Karen Malpede uses both this latter play and a play by the dissident Croatian playwright Slobodan Snajder, Snakeskin, as examples of an approach to writing and experiencing plays she calls ‘theatre of witness’ – in which the witnessing imagination affirms connections ‘based upon the human capacities to experience compassion and empathy for the self and for the other as powerful, motivating forces’. Karen Malpede is a widely performed and published American playwright and director, currently with the Theatre Three Collaborative in New York, where she also teaches at NYU's Tisch School of the Arts. Her People's Theater in America (1972) was a seminal study of its subject, as was her Women in Theater (1984) of the feminist theatre aesthetic.

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Sloan, Lisa. "Theatre & Sexuality. By Jill Dolan. Theatre&. New York: Palgrave Macmillan, 2010; pp. xi + 107. $9.00 paper. - Theatre & Feeling. By Erin Hurley. Theatre&. New York: Palgrave Macmillan, 2010; pp. xv + 88. $9.00 paper." Theatre Survey 53, no. 2 (August 28, 2012): 323–26. http://dx.doi.org/10.1017/s0040557412000208.

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48

Feldhendler, Daniel. "Playback Theatre." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 2 (July 1, 2007): 46–55. http://dx.doi.org/10.33178/scenario.1.2.4.

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Playback Theatre (PT) was created in New York State (USA) in 1975. As a particular form of interactive theatre, PT strives to encourage dialogue and create connections among people. In his article, the author introduces the method’s basic forms and practical implementations as employed in his teaching at the J.W. Goethe University in Frankfurt/Main (Germany). A brief historical overview highlights the paths of his own practice-based research. The aim of his innovative courses is to methodologically integrate theatre, psychodrama, sociodrama, supervision, coaching, and bibliographical work. The article shows how, through action methods, active self-reflection can encourage autonomy and self-determination in post-secondary education. Moreover, the author investigates how PT can be useful both for mediation and for sensitization in multicultural situations. Further examples show how these innovative forms can be implemented in teacher training and EU projects in order to foster the development of democratic participation in linguistic, cultural, and aesthetic education. Playback Theatre (PT) was created in New York State (USA) in 1975. As a particular form of interactive theatre, PT strives to encourage dialogue and create connections among people. In his article, the author introduces the method’s basic forms and practical implementations as employed in his teaching at the J.W. Goethe University in Frankfurt/Main (Germany). A brief historical overview highlights the paths of his own practice-based research. The aim of his innovative courses is to methodologically integrate theatre, psychodrama, sociodrama, supervision, coaching, and bibliographical work. The article shows how, through action methods, active self-reflection can encourage autonomy and self-determination in post-secondary education. Moreover, the author investigates how PT can be useful both for mediation and for sensitization in multicultural situations. Further examples show how these innovative forms can be implemented in teacher training and EU projects in order to foster the development of democratic participation in linguistic, cultural, and aesthetic education.

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Holdbrook-Smith, Kobna. "What is Black Theatre? The African-American Season at the Tricycle Theatre." New Theatre Quarterly 23, no. 3 (August 2007): 241–52. http://dx.doi.org/10.1017/s0266464x07000140.

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Kobna Holdbrook-Smith was a member of the repertory company formed by artistic director Nicolas Kent for the 2005–2006 African-American season at the Tricycle Theatre in north London. That company also included Jenny Jules, Joseph Marcell, Lucian Msamati, Carmen Munroe, and Nathan Osgood. In Walk Hard – Talk Loud by Abram Hill, a play originally produced in 1944 and set in New York in the late 1930s, Holdbrook-Smith played a young boxer who faces racism. In Lynn Nottage's contemporary satire Fabulation, he took on dual roles – the heroine's husband who absconds with her wealth, and the gentle ex-junkie who offers her love. And in August Wilson's Gem of the Ocean, set in Pittsburgh in 1904, his Citizen Barlow seeks purification from the 285-year-old spiritual adviser Aunt Ester and is taken on a symbolic rite of passage. The Ghanaian-born Holdbrook-Smith also appeared at the Tricycle in 2004–2005 in Mustapha Matura's Playboy of the West Indies. Terry Stoller, who teaches at Baruch College in New York City and is working on a book project about the Tricycle Theatre, spoke with Holdbrook-Smith in June 2006 in Covent Garden, London.

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50

Matthews, Nathan R. "Musical Theatre at the Ninth Annual New York International Fringe Festival." Theatre Journal 58, no. 2 (2006): 325–27. http://dx.doi.org/10.1353/tj.2006.0121.

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