Relevant bibliographies by topics / North american theater

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'North american theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 June 2025

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Journal articles on the topic "North american theater"

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Braun, Juliane. "Recovering Virginie Gireaudeau: Race, Language, and Representation on the American Stage." J19: The Journal of Nineteenth-Century Americanists 12, no. 1 (2024): 565–86. http://dx.doi.org/10.1353/jnc.2024.a939672.

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Abstract: This article recovers the life and career of Virginie Gireaudeau, one of the first African American actresses to appear in a major North American theater. Performing in New Orleans in 1826, she played the female lead in two tragedies, supported by a group of white professional actors and actresses from France. But despite Gireaudeau’s obvious significance for American theater historiography, her story has not yet found its way into theater criticism or history. The article suggests that Gireaudeau’s marginalization is symptomatic of an American “national” theater historiography that is largely focused on the anglophone stage. Drawing on a multilingual approach and the careful analysis of a range of newspaper accounts and notarial records, the article argues for the inclusion of non-English-language voices and materials. It demonstrates how broadening our perspective in this way can provide new insights into the life and work of underrepresented performers while enhancing our understanding of the complexity of early American theater as a whole.
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Bérard, Stéphanie. "The Migration of Caribbean Theater to the North American Stage." Contemporary French and Francophone Studies 15, no. 1 (2011): 107–16. http://dx.doi.org/10.1080/17409292.2011.541606.

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Irmer, Thomas. "Theatre as Intervention: Christoph Schlingensief's Hamlet in Zürich and Berlin, 2001." New Theatre Quarterly 28, no. 4 (2012): 343–51. http://dx.doi.org/10.1017/s0266464x12000644.

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Christoph Schlingensief (1960–2010) was a filmmaker, theatre director, and performance artist. In his Hamlet at the Schauspielhaus in Zürich in 2001 – his only staging of a classic – Schlingensief deployed the strategies of intervention typical of his whole work. In this article Thomas Irmer focuses on the actors' troupe in the play, performed by former neo-Nazis. Schlingensief was asking whether an audience would accept the reintegration of people who were determined to leave this extremist group with the support of the German government. At the same time, Schlingensief referred to a historical performance of Hamlet by Gustaf Gründgens, whose career in Nazi and post-war Germany is played in counterpoint against the neo-Nazi outsiders potentially to be reintegrated. Schlingensief's ambivalence here challenged ready-made opinions about overlap between political and aesthetic experience. Thomas Irmer is a scholar, theatre critic, and co-director of four documentary films on theatre, including Die Bühnenrepublik: Theatre in the GDR (2003) and Heiner Müller: a Biographical Portrait (2009). He teaches American theatre at the John F. Kennedy Institute for North American Studies at the Freie Universität in Berlin. He is a regular contributor to Theater Heute, editor of the book Castorf's Volksbühne (2003), and author of the forthcoming Life and Times of Andrzej T. Wirth.
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Saal, Ilka. "‘Let's Hurt Someone’: Violence and Cultural Memory in the Plays of Neil LaBute." New Theatre Quarterly 24, no. 4 (2008): 322–36. http://dx.doi.org/10.1017/s0266464x0800047x.

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In this essay Ilka Saal examines one of the most perplexing aspects of Neil LaBute's work: his deployment of excessive and gratuitous violence. She insists that such deployment of violence has little to do with a humanist critique of the propensity for evil in all of us, nor with the playwright's biography (as suggested by a number of critics), but instead functions as a satirical interrogation of the mythological significance attributed to violence in American culture. The casual cruelties of LaBute's ordinary mid-Americans point up the central and ‘ordinary’ role that violence has played in the nation's history and self-understanding. Focusing on the example of the one-act play a gaggle of saints and drawing on the theories of Jan Assmann and Richard Slotkin, she shows in what ways LaBute uses violence to interrogate the country's cultural memory and to alert us to the general lethargy that has settled over the nation with regard to the historical violence it systematically exerted against its Others. Ilka Saal received her PhD in Literature from Duke University, North Carolina and is now working as Associate Professor of English at the University of Richmond, Virginia, where she teaches modern and contemporary American literature and culture. She is the author of New Deal Theater: the Vernacular Tradition in American Political Theater (Palgrave Macmillan, 2007), Dramatizing the Disease: Representations of AIDS on the US American Stage (Tectum, 1997), and co author of Passionate Politics: the Cultural Work of American Melodrama from the Early Republic to the Present (Cambridge Scholars Press, 2008).
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McMurtry, Leslie. "Sounds Like Murder: Early 1980s Gothic on North American Radio." Gothic Studies 24, no. 2 (2022): 151–66. http://dx.doi.org/10.3366/gothic.2022.0131.

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Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted existing stories from other media, the majority of the output for both series were original, written-for-the-air dramas. Embodying Gothic returns of the past upon the present and the effects of transgressive conduct in society, murder is examined as a Gothic trait in episodes of Nightfall and CBSRMT. Radio’s ambiguities and intimacies provoke listeners of these programmes to confront disjunction. The differing worldviews – American masculine nationalism and neoconservatism subverted; Canadian polite and tolerant masculinity turned upside down by a nihilistic rejection of these values – focus Gothic spotlights on each country’s anxieties.
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Budzik, Justyna. "The Great Theater of the World by Elżbieta Wittlin Lipton." Studia Migracyjne – Przegląd Polonijny 46, no. 3 (177) (2020): 51–60. http://dx.doi.org/10.4467/25444972smpp.20.030.12594.

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The paper takes as its focus the theatrical oeuvre of Elżbieta Wittlin Lipton – a Polish émigré artist and the daughter of an eminent Polish émigré writer Józef Wittlin. It presents a concise introduction to the artistic work of Wittlin Lipton – her costume and set designs – which she has been creating on the European (Spain) and North American continents (United States) since late seventies of the previous century onwards. Biographical facts have been outlined here along with the most charactristic features of her artistic style, with a special emphasis laid on the Spanish genius loci which should be regarded as the most outstanding trait of her total work. The paper constitutes a part of a book devoted to the life and artistic achievements of Elżbieta Wittlin Lipton which the author of this manuscript has been currently writing.
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Souza, Jonathan Renan da Silva. "O teatro estadunidense nos palcos de Londres: Tennessee Williams no Royal Court Theatre." Dramaturgia em foco 7, no. 2 (2025): 288–305. https://doi.org/10.5281/zenodo.14873407.

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Este artigo busca dar notícia aos estudiosos e interessados em teatro estadunidense sobre a presença de peças de autores dos Estados Unidos no palco do Royal Court Theatre de Londres, um dos nascedouros do teatro moderno britânico e de importância reconhecida internacionalmente, sobretudo em revelar novos autores. Em foco estará a montagem de peças de Tennessee Williams (1911-1983), um dos dramaturgos encenados dentre o seleto grupo de estadunidenses cuja obra foi levada à cena no lendário teatro. O caráter historiográfico deste texto será entremeado com breves análises da relação entre o conteúdo e forma das peças de Tennessee que possivelmente suscitaram interesse dos diretores artísticos do Royal Court e possibilitaram um relevante intercâmbio entre o teatro estadunidense e o teatro moderno britânico no período pós-guerra.
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Serova, Ekaterina. "Military aspects of cooperation between Finland and the USA: challenges for Russia." Scientific and Analytical Herald of IE RAS 35, no. 5 (2023): 30–41. http://dx.doi.org/10.15211/vestnikieran520233041.

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The article analyses military and political factors of cooperation between Finland and the United States since 1990s up to the present. The author attempts to show the role Finnish defence forces in the US military reinforcement plans in the Northern European Theater of Operations. The author focuses on the American security interests in Finnish territories, as well as expert views on the US priority in Finland’s foreign policy, including the latest public opinion polls. The aim of US military reinforcement in Finland is twofold. First, to pose a threat to Russia. Second, to help the US military improve surveillance, intelligence and analysis capabilities in real time in north-west Europe and the North Atlantic. Within the context of challenges to Russia’s security, the major institutional arrangements, military trends and consequences of cooperation are discussed. Finally, scenarios for the development of Finnish-US relations within NATO are proposed.
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Katherine Evans. "Native North American Theater in a Global Age: Sites of Identity Construction and Transdifference (review)." Studies in American Indian Literatures 20, no. 4 (2008): 98–101. http://dx.doi.org/10.1353/ail.0.0053.

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Harris, John Rogers. "White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour: William Brown's African and African American Theater. By Marvin McAllister. Chapel Hill: University of North Carolina Press, 2003; pp. 256. $18.95 paper." Theatre Survey 46, no. 1 (2005): 130–32. http://dx.doi.org/10.1017/s0040557405230090.

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An unruly audience, comprising mostly working-class whites, attended a performance of William Shakespeare's Othello by the African Theatre on 10 August 1822. Instead of enjoying a thoughtful interpretation of Shakespeare, the crowd attacked the performers, stripping them of their clothing and dignity. The causes of riots included a growing presence of free blacks in public spaces, political debates surrounding franchise rights of propertied blacks, and the increasing social interactions between black and poor European Americans. The production of Othello was evidence of the African American contribution to evolving notions of national identities, while the Anglo-American's collective mob thinking reflected a consciousness that would become institutionalized by century's end. The riot marked another incident in the slow, painful demise of a theatre company, but the birth of theatre by African Americans.
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Dissertations / Theses on the topic "North american theater"

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Lee, Carrie Kathryn. "Something Beautiful: Craft and Survival in North American Alternative Theatre Companies." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1155844310.

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Däwes, Birgit. "Native North American theater in a global age sites of identity construction and transdifference." Heidelberg Winter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945427&prov=M&dok_var=1&dok_ext=htm.

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Däwes, Birgit. "Native North American theater in a global age : sites of identity construction and transdifference /." Heidelberg : Winter, 2007. http://catalogue.bnf.fr/ark:/12148/cb41119420w.

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Lima, Eduardo Luis Campos. "Procedimentos formais do jornal Injunction Granted (1936), do Federal Theatre Project, e de Teatro Jornal: Primeira Edição (1970), do Teatro de Arena de São Paulo." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-06052013-102207/.

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O presente estudo analisa os procedimentos formais do jornal vivo, forma teatral fundamentada na encenação de notícias, conforme o gênero configurou-se nos Estados Unidos e no Brasil. Para tanto, define como objeto, do lado estadunidense, o jornal vivo Injuction Granted (Liminar é Concedida), produzido no âmbito do Federal Theatre Project (Projeto Federal de Teatro), iniciativa do Governo de Franklin Roosevelt para lidar com o desemprego provocado pela Grande Depressão, na década de 1930. Do lado brasileiro, faz-se uma leitura de Teatro Jornal: Primeira Edição, exposição didática de nove técnicas de encenação desenvolvidas por jovens artistas reunidos no Teatro de Arena de São Paulo e sistematizadas pelo teatrólogo Augusto Boal. O trabalho é introduzido por uma breve história da forma do jornal vivo, consolidada no período da Revolução Soviética, que procura apresentar suas principais manifestações e alguns dos caminhos que percorreu, principalmente nas décadas de 1920 e 1930. Demonstra-se que o jornal vivo sempre foi uma forma teatral ancorada na luta dos trabalhadores, sendo uma vertente central da arte de agitação e propaganda. A análise de suas manifestações nos Estados Unidos e no Brasil, dessa maneira, leva em conta o momento histórico dos países quando da produção das referidas peças, tentando relacionar conformação estética e horizonte político continuamente. O materialismo histórico ampara tal reflexão e, mais especificamente, sua aplicação ao pensamento sobre teatro, consubstanciada na teoria do teatro épico, desenvolvida por pensadores como Bertolt Brecht, Peter Szondi e Anatol Rosenfeld.<br>This is a study of the formal procedures of the living newspapers a theatrical form based on the theatricalization of news according to their configuration in the United States of America and in Brazil. Therefore, the work defines as an object in the American side the living newspaper Injunction Granted, a play staged under the Federal Theatre Project, which was one of Franklin Roosevelts programs to deal with unemployment during the Great Depression in the 1930s. In the Brazilian side, the focus is on Teatro Jornal: Primeira Edição (Theatre Newspaper: First Edition), a didactic exposition of nine staging techniques developed by young artists which had joined Teatro de Arena de São Paulo, as systematized by director Augusto Boal. This study begins with a short history of the form of the living newspaper which was cemented during the Soviet Revolution that tries to present its main ways of actualization and some of the paths taken by this genre, chiefly in the 1920s and 1930s. The work demonstrates that the living newspapers were always anchored on the workers struggle and are a central strand of the art of agitation and propaganda. Thus the examination of the American and Brazilian manifestations of the genre takes into account the historical conjuncture of both countries at the time the plays were produced, trying to continuously relate aesthetic conformation and political horizon. Historical materialism supports that reflection more specifically its application on the ideas about theater which were consubstantiated in the theory of the epic theater, developed by thinkers as Bertolt Brecht, Peter Szondi and Anatol Rosenfeld.
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Elkin, Courtney Carmel. "Clashes of cultural memory in popular festival performance in Southern California 1910s-present /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495960481&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Sebestyen, John S. "Culture, Crisis, and Community: Christianity in North American Drama at the Turn of the Millennium." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1242080581.

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Ilari, Mayumi Denise Senoi. "Teatro político e contestação no mundo globalizado: o Bread & Puppet Theater na sociedade de consumo." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-14052008-134439/.

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Criado na cidade de Nova Iorque no início dos anos sessenta, o Bread & Puppet Theater estabeleceu-se em meio à vanguarda artística norte-americana do século XX, tornando-se célebre nas apresentações e paradas de rua em protesto contra a guerra do Vietnã. Quatro décadas de teatro mais tarde, em plena guerra no Iraque, o grupo dirigido por Peter Schumann, agora radicado em Vermont, prossegue com seu teatro de papel-maché, em protesto contra os impérios vis e injustos do mundo globalizado. Esta pesquisa compara o espetáculo Portões do Inferno, último \"Circo de Ressurreição Doméstica\" (1998), espetáculo anual apresentado a dezenas de milhares de pessoas, a O Mundo de Pernas para o Ar, uma nova versão do Circo - \"Circo de Insurreição do Primeiro Mundo\" (2004), analisando relações entre forma e história. Observaremos que, em nossa atual civilização, fundada na lógica da mercadoria, na comercialização da arte, na espetacularização da vida (no sentido debordiano), e no embrutecido e fragmentário deslumbramento pós-moderno frente aos mesmos paradigmas exaltados como inovações (ou no esmaecimento do afeto, na expressão de Jameson), o teatro histórico, épico e dialético do Bread and Puppet segue resistindo efetivamente, na contramão da sociedade de consumo, na insurreição contra o mundo globalizado, a insurreição \"da mente contra a supremacia do dinheiro e a insurreição de toda a alma do teatro de bonecos contra a estupidez do maravilhamento pós-moderno\".<br>Originated in the city of New York in the 1960s, the Bread & Puppet Theater established itself amidst the North American artistic vanguard of the 20th century. It was especially known for its demonstrations and protests against the Vietnam war. Four decades later, during the Iraq war, the group leaded by Peter Schumann, now established in Vermont, continues with their papier-maché theater, demonstrating and protesting against the evil and unfair empires of the globalized world. This study compares Gates of Hell (1998) - the final \"Domestic Resurrection Circus\"- an annual show presented to thousands of people, to Upside Down World - a new version of the circus called \"First World Insurrection Circus\" (2004) - analyzing the relationships between form and history. The analysis reveals that in our current civilization, which is largely based on the logic of commodities, in the commercialization of art, in the \"spectacularization\" of life (in debordian sense) and in the brutalized and fragmented post-modern wonderfulness, which presents and glorifies the same paradigms as innovations (or in its waning of affect, in Fredric Jameson\'s sense), Bread and Puppet\'s historical, epic and dialectic theater effectively resists, going the opposite direction of consumer society, in the insurrection against globalized world, the insurrection \"of the mind against the supremacy of money and the insurrection of the whole soul of puppetry against the stupidity of post-modern wonderfulness\".
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Flores, Fúlvio Torres. "Da Depressão às raízes do macartismo: representação de questões sócio-históricas em American blues, de Tennessee Williams." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-15052013-093207/.

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A proposta desta tese é analisar a representação de questões sócio-históricas em American blues, de Tennessee Williams, coletânea de cinco peças curtas escritas durante as décadas de 1930 e 1940 e reunidas para publicação em 1948. Cada uma delas é de vital importância para a compreensão da sociedade norte-americana desse período. Considerando que o blues expressa o pathos e as condições de vida da classe trabalhadora e dos excluídos das relações de produção, afirma-se que as peças Moony´s kid don´t cry, The dark room e The long stay cut short, or The unsatisfactory supper figuram os efeitos causados sobre essa larga camada da população nos anos da Depressão Econômica. The case of the crushed petunias a lyrical fantasy parodia o impacto da sufocante ideologia do American way of life sobre a classe média e o desinteresse dessa pelos principais acontecimentos durante a II Guerra Mundial. Por fim, Ten blocks on the Camino Real a fantasy alegoriza a sociedade capitalista do pós-guerra e o nascedouro da era macartista. Por meio de um sucinto levantamento das peças escritas por Tennessee Williams até a publicação da coletânea é possível extrair elementos que permitem evidenciar a constituição e organicidade de American blues.<br>The purpose of this thesis is to analyze the representation of socio-historical issues in American blues, by Tennessee Williams, a collection of five short plays written during the 1930s and 1940s and grouped for publication in 1948. Each one is vitally important to the understanding of the American society of that period. Taking into consideration that the blues express the pathos and the living conditions of the working class and those excluded from the relations of production, we assert that the plays Moony\'s kid don´t cry, The dark room and The long stay cut short, or The unsatisfactory supper represent the effects of the Great Depression on this broad population group. The case of the crushed petunias a lyrical fantasy parodies the impact of the American way of life ideology on the middle class as well as this class´s indifference concerning the major events of World War II. Finally, Ten Blocks on the Camino Real a fantasy allegorizes postwar capitalist society and the roots of the McCarthy era. Through a brief survey of the plays written by Tennessee Williams until the publication of the collection it is possible to draw elements that evidence the constitution and organicity of American blues.
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Leme, Viviane Maria. "A concepção da tragédia moderna em \'The crucible\' e \'A view from the bridge\' de Arthur Miller." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-07112007-131916/.

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A presente pesquisa dedica-se ao estudo da forma de tragédia moderna utilizada pelo dramaturgo americano, Arthur Miller, em The Crucible [As Feiticeiras de Salém] (1953) e A View From the Bridge [Panorama Visto da Ponte] (versão de dois atos, de 1956), apoiando-se na obra Tragédia Moderna do crítico inglês, Raymond Williams, e concentrando-se no texto teatral, ou seja, na dramaturgia, o que não inclui análise de montagens. O pressuposto teórico do presente trabalho é a crítica histórica e dialética que considera o conteúdo histórico determinante dos aspectos formais. No primeiro capítulo, discute-se o que é tragédia moderna, quais as fontes da tragédia moderna e da tragédia milleriana, qual o conceito de tragédia para Arthur Miller, por que ele escolheu a tragédia para tratar das questões figuradas nas duas peças e quais os recursos formais que ele utiliza. A partir daí, demonstra-se que ambas as peças possuem características que mesclam peculiaridades da tragédia grega com a tragédia moderna, as quais dão forma a um tipo de dramaturgia que Raymond Williams denomina tragédia liberal, cuja principal marca é mostrar e discutir a luta do homem contra sua sociedade. Com essas peças Arthur Miller \"atualiza\" a forma da tragédia para assim restaurar a idéia que está por trás dela, isto é, a idéia de causação, de conectividade. No segundo capítulo, parte-se dessa base central de conectividade para analisar como a forma escolhida por Miller reflete esse conceito; assim, ele constrói suas peças demonstrando como, em suas estruturas, as causas se conectam com seus efeitos, como as ações individuais afetam o todo, como a vida particular influi na vida pública, e vice-versa, e demonstrando, além disso, uma preocupação não-maniqueísta na construção das personagens e dos fatos. Avistamos esses traços nas duas peças de Miller principalmente devido à inserção de um narrador, que chamamos de \"explícito\" em The Crucible e \"implícito\" em A View from the Bridge, cujas funções são também analisadas. No terceiro capítulo, o que se destaca das tragédias de Miller é o fato de que os conteúdos de suas obras são determinados historicamente; sendo assim, as duas peças são exploradas à luz do macartismo para que se verifique como os paralelos podem ser compreendidos e o que eles dizem sobre o senso de coletividade.<br>Based on the assumption that the formal choice of the artist reveals the content of his work, and vice-versa, the present research studies the form of modern tragedy as it is applied to the text of The Crucible (1953) and A View from the Bridge (the two-act version of 1956) by Arthur Miller. For this purpose, this work draws on Raymond Williams\' conception of modern tragedy. Thus, the first chapter demonstrates that both plays combine certain characteristics which can be found in Greek tragedy, and some others that are present in the modern tragedy to form a specific kind of tragedy that Raymond Williams calls liberal tragedy; the main purpose of a liberal tragedy, according to Williams, is to show and discuss that the man is constantly struggling against his society. We have noticed that Arthur Miller relies on this assumption of the modern tragedy to rescue the idea of causation and connectedness. Having the idea of connectedness in mind, in the second chapter, we analyze the way Miller develops these plays with the preoccupation of showing the relatedness of causes and effects, which means to show how the individual acts are related to the whole society, and how the private life influences in the public one, and vice-versa. We have also observed a certain concern in depicting characters and facts taking into consideration that the truth is relative, which can be noted by the presence of what we call an \"implicit narrator\" (in The Crucible) and an \"explicit narrator\" (in A View from the Bridge). The presence of these narrators, besides having the function of establishing a complicity between characters and audience, also ensures a distancing voice, epic par excellence, which challenges the commonly held notions about the topics discussed in the plays. In the third chapter, relying on the notion that Miller\'s tragedies are historically determined, we analyze the parallels between the two plays and the historical moment in the United States which is commonly called McCarthyism, and what it represents for the sense of community explored by the author in both plays.
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Martins, Rafael. "Nobody knows you when you´re down and out: a encenação de Alguns Blues do Tennessee pelo Grupo TAPA no Teatro de Arena Eugênio Kusnet." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-17042018-142235/.

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A proposta desse trabalho é a análise da encenação do espetáculo Alguns blues do Tennessee, dentro do projeto TAPA no Arena: uma ponte na História no ano de 2013 no Teatro de Arena, vencedor do Edital de Ocupação do Teatro de Arena Eugenio Kusnet. Trata-se da encenação de três peças em um ato, O quarto escuro, Verão no Lago e A dama da loção antipiolho, do dramaturgo estadunidense Tennessee Williams. O espetáculo é o resultado do trabalho iniciado no ano de 2009 com a direção de Eduardo Tolentino e Brian Penido Ross, tendo no elenco Conrado Sardinha, Isabella Lemos, Kadi Moreno e Rita Giovanna. A apresentação foi desenvolvida em sala de ensaios pelos atores do Grupo TAPA num processo que contou o estudo sistematizado da dramaturgia da obra de Williams. Recebeu a tradução de um lote de 26 peças curtas e 6 peças longas do autor, tendo como resultado, além da produção do espetáculo, na publicação, pela editora É Realizações, dos livros Mister Paradise e outras peças em um ato (WILLIAMS, 2011), 27 carros de algodão e outras peças em um ato (WILLIAMS, 2012), O zoológico de vidro; De repente no último verão; Doce pássaro da juventude (WILLIAMS, 2014) e Gata em telhado de zinco quente; A descida de Orfeu; A noite do iguana (WILLIAMS, 2016).<br>The purpose of this work is the analysis of the performance staging of the play \"Some blues by1 Tennessee\" within Tapa no Arena project: a bridge in history in 2013 at Arena Theater, winner of the Edict of Occupation of the Arena Theater Eugenio Kusnet. It\'s the staging of three one act plays: \"The Dark Room\", \"Summer on the Lake\" and \"The lady of the Larkspur Lotion\" of the American playwright Tennessee Williams. The performance is the result of a work that began in 2009 with Eduardo Tolentino and Brian Penido Ross as directors and Conrado Sardinha, Isabella Lemos, Kadi Moreno and Rita Giovanna in the cast. This work has been developed in a rehearsal room by the Tapa Group actors during a process which included the systematic study of the dramaturgy work of Williams and the translation of a batch of 26 one-act plays and 6 long plays of the author. Besides the production of the show, it also resulted the publication of the books: \"Mister Paradise e outras peças em um ato\" (Williams, 2011), \"27 carros de algodão e outras peças em um ato\" (Williams, 2012), \"O zoológico de vidro; De repente no último verão; Doce pássaro da juventude (Williams, 2014) and \"Gata em telhado de zinco quente; A descida de Orfeu; A noite do iguana (Williams, 2016) by \"É Realizações\" publisher.
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Books on the topic "North american theater"

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Chicago, University of, ed. Twentieth century North American drama. Alexander Street Press, 2005.

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J, Watermeier Daniel, ed. The history of North American theater: From pre-Columbian times to the present. Continuum, 1998.

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McMillan, Felecia Piggott. The North Carolina Black Repertory Company: 25 marvtastic years. Open Hand Pub., 2005.

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Londré, Felicia Hardison. The history of North American theater: The United States, Canada, and Mexico : from pre-Columbian times to the present. Continuum, 1998.

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J, Watermeier Daniel, ed. The history of the North American theater: The United States, Canada, and Mexico : from pre-Columbian times to the present. Continuum, 2000.

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Bliss, Joy V. Pitching my way through World War II: Letters home to North Dakota. Book Stops Here, 2010.

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Michael, Lomatuway'ma, ed. Children of cottonwood: Piety and ceremonialism in Hopi Indian puppetry. University of Nebraska Press, 1987.

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Burkhart, Louise M., Barry D. Sell, and Gregory Spira. Nahuatl theater. University of Oklahoma Press, 2004.

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Office, General Accounting. Financial management: Theater Missile Defense Cooperation account. The Office, 1995.

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Al, Momaday, ed. The way to rainy mountain. University of Arizona Press, 1996.

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Book chapters on the topic "North american theater"

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Isbell, John Claiborne. "1. Writers from British North America." In Women Writers in the Romantic Age. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0458.01.

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This chapter reviews 206 women writers, 1776-1848, from the region of British north America, divided here into Canada, the United States 18th century, and the United States 19th century. The United States is divided because of the great number of women found in that tradition. Writers range from Quakers to military strategists, encompassing abolitionists, hymn writers, apologists for the Confederacy, president’s wives, mill workers, adventurers, and homemakers. It covers lyric and epic poetry, theatre, and a wide variety of prose genres, from diary to romance.
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Pillatzki-Warzeha, Sara, and Margaret Werry. "Indigenous Migrations: Performance, Urbanization, and Survivance in Native North America." In The Palgrave Handbook of Theatre and Migration. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20196-7_9.

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Pilný, Ondřej, Ruud van den Beuken, and Ian R. Walsh. "Introduction: Cultural Convergence at Dublin’s Gate Theatre." In Cultural Convergence. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_1.

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Abstract The pioneering efforts of the Dublin Gate Theatre (est. 1928) stimulated the influx of experimental plays from the European Continent and North America to Ireland and inspired Irish theatre-makers to revolutionize their dramaturgy. This book examines the Gate’s poetics over the first three decades of its existence, discussing some of its remarkable productions in the comparative contexts of avant-garde theatre and of Hollywood cinema and popular culture. It also investigates cultural exchanges pertaining to the development of Irish-language theatre and the politics of the Gate. The introduction summarizes existing research about the Gate, outlines the book’s concept of cultural convergence and its overall approach – which is intent on the exploration of wider global contexts of the work of the Gate – and outlines the argument of the authors in the subsequent chapters.
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Dombrowski, Lisa. "A Gateway for Asian Popular Culture: Chinese-Language Movie Theaters in North America." In Contemporary Asian Popular Culture Vol. 2. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-72178-6_2.

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Biswas, Debajyoti. "Environmental Humanities in India: An Interdisciplinary Approach." In Asia in Transition. Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-3933-2_1.

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AbstractThe Environmental Humanities, or EH, is a multifaceted, relatively new, and swiftly evolving field of scholarship that integrates the theories and approaches of various disciplines—from anthropology, art, communications, cultural studies, philosophy and ecology to history, literature, media, music, performance, politics, sociology, theology and theatre. Practitioners of this markedly integrative field aim to address and, even, confront today’s urgent ecological and cultural challenges, namely climate change, urban sustainability, biodiversity conservation, species decline, energy policy, the exigencies of the Anthropocene, environmental activism and Indigenous peoples’ justice. Recent developments in the Environmental Humanities foreground its topicality as scholar-activists-artists from a wide range of disciplines turn increasingly to human-nature relational issues in the Anthropocene epoch. As a discrete field, EH has emerged principally from North American, European and Australian academic institutions and, more specifically, from English, history, geography and anthropology departments. Although the Environmental Humanities has been relatively slow to gain traction in South Asia, the overall momentum towards transdisciplinary approaches to ecology and sustainability is intensifying in India. This contributed volume highlights current research in the Environmental Humanities in India through four thematic sections: (i) Indigenous Perspectives: Conservation, Spirituality and Language; (ii) Theoretical Grounding: Education, Law and Ethics; (iii) Literary Formulations: Memoir, Parable and Storyworlds; (iv) Popular Narratives: Myth, Travel and Music.
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Orosa, Miguel A., Francisco Collado-Campaña, and Viviana Galarza-Ligña. "The (Post-)theatre of the Twenty-First Century in Spain and the North American Post-drama TV Series: A Political, Historic and Comparative Research. Playwrights, Patterns and All-Embracing Point of View." In Marketing and Smart Technologies. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4183-8_45.

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Washburne, Christopher. "“El Tema del Apollo”." In Latin Jazz. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.003.0005.

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This chapter examines the relationship between African America, Latin America, and the Caribbean through the music and its associated performance practices realized on the stage of the Apollo Theater in Harlem from 1934 to the early 2000s. Through the lens of race, nation, and ethnicity, the complex and often tenuous relations among the diverse peoples who colluded and collided on the stage of the Apollo to produce some of the most significant and influential contributions to popular cultural expression in the United States throughout the twentieth century are explored. Though the Apollo is considered one of the most significant and influential venues in the twentieth century for African American music, studying the discourse and historical narratives concerning the theater’s history and traditions reveals that the venue was also one of the most important Caribbean and Latin American stages in the United States during that time. Situated just blocks from one of the most vibrant Caribbean and Latin American neighborhoods in North America, Spanish Harlem or El Barrio, the Apollo Theater was and continues to be a nexus for intercultural exchange between African American, Latin American, and Caribbean musics.
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Cutrer, Thomas W. "No Nobler Death." In Theater of a Separate War. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631561.003.0018.

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Federal forces attempted to reverse early Confederate diplomatic and military successes in the Indian Territory, recruiting their own Native American forces and pushing south out of Kansas. Union troops and their Native American allies were able to reoccupy most of the Indian Territory, but not, as they had hoped, to invade Texas from the north. Intertribal warfare was particularly fierce, and the families of both sides suffered tremendously.
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Porch, Douglas. "North Africa and Italy." In The Oxford Handbook of World War II. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780199341795.013.28.

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Abstract From a global war perspective, the notion, current into the twentieth-first century, that the Mediterranean was an opportunistic and incremental theater of marginal strategic impact, that competed for resources with more strategically lucrative fronts, can no longer stand close scrutiny. Far from being lured into the Mediterranean to salvage Britain’s sputtering war effort there and reinforce Churchill’s imperial ambitions, the U.S. commitment reinforced Roosevelt’s “Europe first” strategy. It offered a place where the Western Allies could learn to fight at diminished risk and at a strategic advantage against overextended Axis forces. It seriously attrited Axis resources, and even provided the theater that unhinged the Axis. It became the venue for France’s return to the war on the Allied side. It bought time for Roosevelt to build up U.S. military might, and hence increase American influence in the postwar reconfiguration of Europe. For better or worse, the Mediterranean campaign initiated the political transformation of the region. The Mediterranean commitment was central to Roosevelt’s vision of building a stable, liberal, democratic postwar European order, one that avoided the risks and dangers of a premature engagement in Northern Europe. For their part, Axis leaders proved unable to formulate a similar comprehensive strategic vision for the Mediterranean.
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"Theft and Conflagration in the North American Theater of Military Operations." In What Ever Happened to the U.S. Congress’s Portraits of Louis XVI and Marie-Antoinette? The American Philosophical Society Press, 2021. http://dx.doi.org/10.70249/9781606181102-006.

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