Relevant bibliographies by topics / New York (N.Y.). Stuyvesant Theatre / Journal articles
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Journal articles on the topic 'New York (N.Y.). Stuyvesant Theatre'

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Published: 2 March 2023

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1

Nichols, Richard. "Zeami and the N?? Theatre in the World. Edited by Benito Ortolani and Samuel E. Leiter. New York: Center for Advanced Studies in Theatre Arts, 1998; pp. 177. Paperback." Theatre Survey 42, no. 1 (2001): 98–100. http://dx.doi.org/10.1017/s0040557401253861.

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2

McDermott, Douglas. "Theatre In America: 200 Years of Plays, Players and Productions. By Mary C. Henderson. New York: Harry N. Abrams, 1986. Pp. 327." Theatre Research International 14, no. 3 (1989): 307–8. http://dx.doi.org/10.1017/s0307883300009111.

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3

Ridder, Alyssa. "Ethics of homeless representation in costume design." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (2020): 117–21. http://dx.doi.org/10.1386/peet_00026_7.

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Marisol, set in 1993 New York City, depicts the end of the world from the perspective of a twenty-something Puerto Rican white collar woman who loses her guardian angel. In approaching the costume design for this play I encountered a deeply concerning question: how can I design costumes for homeless characters without appropriating the physical appearance of people who experience homelessness in real life? Homeless characters are represented in many iconic plays in English language theatre, from Angels in America to Oliver!, and costume designers are frequently asked to address the ethics of r
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4

Barber, Karin. "Come to Laugh: African traditional theatre in Ghana by Kwabena N. Bame New York, Lilian Barber Press, 1985. Pp. 190. - Theatre and Cultural Struggle in South Africa by Robert Mshengu Kavanagh London, Zed Books, 1985. Pp. xv+237. £16.95. £6.50. paperback." Journal of Modern African Studies 25, no. 3 (1987): 561–64. http://dx.doi.org/10.1017/s0022278x00010053.

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5

Guthrie, Diana, and Alan Bell. "Kwabena N. Bame Come to laugh: African traditional theatre in Ghana. New York, Lilian Barber Press, 1985. 190pp. ISBN 0-936508-07-8 (hardback)/0-936508-08-6 (paperback). £17.95/£7.95." African Research & Documentation 39 (1985): 29–40. http://dx.doi.org/10.1017/s0305862x00008293.

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6

Andel, Joan D., H. E. Coomans, Rene Berg, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 147, no. 4 (1991): 516–46. http://dx.doi.org/10.1163/22134379-90003185.

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- Joan D. van Andel, H.E. Coomans, Building up the the future from the past; Studies on the architecture and historic monuments in the Dutch Caribbean, Zutphen: De Walburg Pers, 1990, 268 pp., M.A. Newton, M. Coomans-Eustatia (eds.) - Rene van den Berg, James N. Sneddon, Studies in Sulawesi linguistics, Part I, 1989. NUSA, Linguistic studies of Indonesian and other languages in Indonesia, volume 31. Jakarta: Badan Penyelenggara Seri Nusa, Universitas Katolik Indonesia Atma Jaya. - Thomas Crump, H. Beukers, Red-hair medicine: Dutch-Japanese medical relations. Amsterdam/Atlanta, GA: Rodopi, Publ
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Sukanadi, I. Made. "DAMPAK EKSISTENSI MOTIF BATIK WALANG JATI KENCONO TERHADAP PENINGKATAN EKONOMI DAN SOSIAL PENGRAJIN BATIK DI GUNUNGKIDUL." Gorga : Jurnal Seni Rupa 11, no. 2 (2022): 456. http://dx.doi.org/10.24114/gr.v11i2.39026.

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This research aims to answer the problem of the impact of the existence of the Walang Jati Kencono batik motif on the social and economic changes of the community and batik craftsmen of Gunungkidul Regency. The existence of regulation from the Regional Government of Gunung Kidul Regency regarding the use of batik uniforms for elementary, junior high, and high school / vocational schools has strengthened the existence of batik products and the sustainability of batik production by batik craftsmen in Gunungkidul. This research uses the qualitative descriptive method. The data collection method u
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Short, Jim. "More Books - Black Cultural Mythology. By Christel N. Temple. Albany: State University of New York Press, 2020; 370 pp. $95.00 cloth, $33.95 paper, e-book available. - The Cambridge Companion to International Theatre Festivals. Edited by Ric Knowles. Cambridge: Cambridge University Press, 2020; 368 pp. $84.99 cloth, $24.99 paper, e-book available. - Contemporary European Playwrights. Edited by Maria M. Delgado, Bryce Lease, and Dan Rebellato. London: Routledge, 2020; 432 pp.; illustrations. $128.00 cloth, $34.36 paper, e-book available. - Macbeth in Harlem: Black Theater in America from the Beginning to Raisin in the Sun. By Clifford Mason. New Brunswick, NJ: Rutgers University Press, 2020; 246 pp.; illustrations. $32.95 cloth, e-book available. - Racial Immanence: Chicanx Bodies beyond Representation. By Marissa K. López. New York: New York University Press, 2019; 208 pp.; illustrations. $89.00 cloth, $28.00 paper, e-book available. - Theatermachine: Tadeusz Kantor in Context. Edited by Magda Romanska and Kathleen Cioffi. Evanston, IL: Northwestern University Press, 2020; 344 pp.; illustrations. $120.00 cloth, $34.95 paper, e-book available." TDR: The Drama Review 65, no. 3 (2021): 178–80. http://dx.doi.org/10.1017/s1054204321000459.

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9

Makeham, Paul Benedict, Bree Jamila Hadley, and Joon-Yee Bernadette Kwok. "A "Value Ecology" Approach to the Performing Arts." M/C Journal 15, no. 3 (2012). http://dx.doi.org/10.5204/mcj.490.

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In recent years ecological thinking has been applied to a range of social, cultural, and aesthetic systems, including performing arts as a living system of policy makers, producers, organisations, artists, and audiences. Ecological thinking is systems-based thinking which allows us to see the performing arts as a complex and protean ecosystem; to explain how elements in this system act and interact; and to evaluate its effects on Australia’s social fabric over time. According to Gallasch, ecological thinking is “what we desperately need for the arts.” It enables us to “defeat the fragmentary a
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10

Lavers, Katie. "Cirque du Soleil and Its Roots in Illegitimate Circus." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.882.

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IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists prese
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Hill, Wes. "Revealing Revelation: Hans Haacke’s “All Connected”." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1669.

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In the 1960s, especially in the West, art that was revelatory and art that was revealing operated at opposite ends of the aesthetic spectrum. On the side of the revelatory we can think of encounters synonymous with modernism, in which an expressionist painting was revelatory of the Freudian unconscious, or a Barnett Newman the revelatory intensity of the sublime. By contrast, the impulse to reveal in 1960s art was rooted in post-Duchampian practice, implicating artists as different as Lynda Benglis and Richard Hamilton, who mined the potential of an art that was without essence. If revelatory
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12

Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each
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13

D'Cruz, Glenn. "Darkly Dreaming (in) Authenticity: The Self/Persona Opposition in Dexter." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.804.

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This paper will use the popular television character, Dexter Morgan, to interrogate the relationship between self and persona, and unsettle the distinction between the two terms. This operation will enable me to raise a series of questions about the critical vocabulary and scholarly agenda of the nascent discipline of persona studies, which, I argue, needs to develop a critical genealogy of the term “persona.” This paper makes a modest contribution to such a project by drawing attention to some key questions regarding the discourse of authenticity in persona studies. For those not familiar wit
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14

Deer, Patrick, and Toby Miller. "A Day That Will Live In … ?" M/C Journal 5, no. 1 (2002). http://dx.doi.org/10.5204/mcj.1938.

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By the time you read this, it will be wrong. Things seemed to be moving so fast in these first days after airplanes crashed into the World Trade Center, the Pentagon, and the Pennsylvania earth. Each certainty is as carelessly dropped as it was once carelessly assumed. The sounds of lower Manhattan that used to serve as white noise for residents—sirens, screeches, screams—are no longer signs without a referent. Instead, they make folks stare and stop, hurry and hustle, wondering whether the noises we know so well are in fact, this time, coefficients of a new reality. At the time of writing
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15

Florescu, Catalina. "Ars Moriendi, the Erotic Self and AIDS." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.50.

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To Rodica, who died first / To Mircea, who continues me [I]In his book Picturing Health and Illness: Images of Identity and Difference, Sander L. Gilman argues that during the nineteenth century the healthy norm perceived as ugly not only those who were deformed, but also those who were ill, ageing, and/or experienced different bodily “loss of function” (53). In the nineteenth century, how much was medicine responsible for defining ugly as ill, deformed, and getting old, versus beautiful as healthy, and then, for the sake of the community’s health, firmly promoting these ideas? Furthermore, wi
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16

Radywyl, Natalia. "“A little bit more mysterious…”: Ambience and Art in the Dark." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.225.

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A Site for the Study of Ambience Deep in Melbourne’s subterranean belly lies a long, dark space dedicated to screen-based art. Built along disused train platforms, it’s even possible to hear the ghostly rumblings and clatter of trains passing alongside the length of the gallery on quiet days. Upon descending the single staircase leading into this dimly-lit space, visitors encounter a distinctive sensory immersion. A flicker of screens dapple the windowless vastness ahead, perhaps briefly highlighting entrances into smaller rooms or the faintly-outlined profiles of visitors. This space often ho
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17

Graf, Shenja van der. "Blogging Business." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2395.

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SuicideGirls.com In September 2001 two entrepreneurs Missy (coal-black Betty Page bangs and numerous tattoos) and Sean launched SuicideGirls.com. With their backgrounds in graphic design, programming and photography, they came up with the idea of launching an alternative adult site that started out as “a kind of an art project” — it grew out of an interest in Bunny Yeager’s pinup photos, where the control and attitude of the sexy women were emphasized, only now it was about pierced and tattooed females. Missy describes the portrayal of women on the site in the following words: The site is abou
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18

McCosker, Anthony, and Timothy Graham. "Data Publics: Urban Protest, Analytics and the Courts." M/C Journal 21, no. 3 (2018). http://dx.doi.org/10.5204/mcj.1427.

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This article reflects on part of a three-year battle over the redevelopment of an iconic Melbourne music venue, the Palace-Metro Nightclub (the Palace), involving the tactical use of Facebook Page data at trial. We were invited by the Save the Palace group, Melbourne City Council and the National Trust of Australia to provide Facebook Page data analysis as evidence of the social value of the venue at an appeals trial heard at the Victorian Civil Administration Tribunal (VCAT) in 2016. We take a reflexive ethnographic approach here to explore the data production, collection and analysis process
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19

Piper, Melanie. "Blood on Boylston: Digital Memory and the Dramatisation of Recent History in Patriots Day." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1288.

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IntroductionWhen I saw Patriots Day (Berg 2016) at my local multiplex, a family entered the theatre and sat a few rows in front of me. They had a child with them, a boy who was perhaps nine or ten years old. Upon seeing the kid, I had a physical reaction. Not quite a knee-jerk, but more of an uneasy gut punch. ‘Don't you know what this movie is about?’ I wanted to ask his parents; ‘I’ve seen Jeff Bauman’s bones, and that is not something a child should see.’ I had lived through the 2013 Boston Marathon bombing and subsequent manhunt, and the memories were vivid in my mind as I waited for the m
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20

Cocker, Emma. "From Passivity to Potentiality: The Communitas of Stillness." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.119.

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Drawing on my recent experience of working in collaboration with the artist-led project, Open City, I want to explore the potential of an active and resistant - rather than passive and acquiescent – form of stillness that can be activated strategically within a performance-based practice. The article examines how stillness and other forms of non-productive or non-teleological activity might contribute towards the production of a radically dissenting – yet affirmative – model of contemporary subjectivity. It will investigate how the performance of stillness within an artistic practice could off
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Collins, Rebecca Louise. "Sound, Space and Bodies: Building Relations in the Work of Invisible Flock and Atelier Bildraum." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1222.

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IntroductionIn this article, I discuss the potential of sound to construct fictional spaces and build relations between bodies using two performance installations as case studies. The first is Invisible Flock’s 105+dB, a site-specific sound work which transports crowd recordings of a soccer match to alternative geographical locations. The second is Atelier Bildraum’s Bildraum, an installation performance using live photography, architectural models, and ambient sound. By writing through these two works, I question how sound builds relations between bodies and across space as well as questionin
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22

Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li
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23

Hernandez, George, Valeria Sandena, Sotonye Douglas, Amy Miyako Williams, and Anna-Leila Williams. "Partnership with a Theater Company to Amplify Voices of Underrepresented-in-Medicine Students." Voices in Bioethics 7 (August 24, 2021). http://dx.doi.org/10.52214/vib.v7i.8590.

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Photo by Sam McGhee on Unsplash ABSTRACT Medical education has a long history of discriminatory practices. Because of the hierarchy inherent in medical education, underrepresented-in-medicine (URiM) students are particularly vulnerable to discrimination and often feel they have limited recourse to respond without repercussions. URiM student leaders at a USA medical school needed their peers, faculty, and administration to know the institutional racism and other forms of discrimination they regularly experienced. The students wanted to share first-person narratives of their experiences; however
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