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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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Russo, Emiliana. "Original Pronunciation and the United States: The Case of <i>A Midsummer Night’s Dream</i> by Paul Meier (2010, 2012)." Review of International American Studies 15, no. 2 (2022): 211–31. http://dx.doi.org/10.31261/rias.13757.
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In 2004 Romeo and Juliet in Original Pronunciation (OP) was staged at Shakespeare’s Globe, inaugurating what Crystal would later define the OP movement (2016) - a movement aiming to restore the original sound of both the literary and non-literary works of the past. While academic literature suggests an irregular theatrical interest in the Shakespearean OP in the UK, it also demonstrates that such restoratory projects have proven increasingly appealing to the US audiences. The reasons why the North American theater goers' are attracted to the Shakespearean OP remain unclear. Based on a qualitative analysis of interviews with Paul Meier, the director of the theatrical and radio production A Midsummer Night’s Dream (2010, 2012) and two of his cast members, and complementing the findings with the study of promotional and non-promotional articles concerning the productions, this paper aims to shed light on the rationale behind the North American fascination with the Shakespearean OP. As Meier’s reflections gravitate towards the identity of the US as a former British colony, this study, relying extensively on literature review, is carried out both through the lens of literary/cultural history and of historical linguistics. Finally, though limited in its scope, this paper intends to pave the way for further studies on the relationship between the allure of the OP and the US culture, and thereby to enrich the area of investigation concerning Shakespeare's reception in the US and his role in the American culture.
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DuRose, Lisa. "How to Seduce a Working Girl: Vaudevillian Entertainment in American Working–Class Fiction 1890–1925." Prospects 24 (October 1999): 377–91. http://dx.doi.org/10.1017/s0361233300000429.
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“The city,” Theodore Dreiser explains at the beginning of Sister Carrie, “has its cunning wiles, no less than the infinitely smaller and more human tempter. There are larger forces which allure with all the soulfulness of expression possible in the most cultured human. The gleam of a thousand lights is often as effective as the pervasive light in a wooing and fascinating eye” (1). Dreiser's description here echoes many early 20th-century writers' anxieties about the rise of the modern city — from social reformers like Jane Addams and Jacob Riis to journalists and novelists as varied as Stephen Crane and Jean Toomer. But it is Dreiser's depiction of the city as a seducer, as an irresistible wooer, which finally arrives at the heart of the controversy. In the age that saw an increase in the most socially diverse wage seekers — newly arrived immigrants, Southern blacks who migrated North, and single, young women from the country — the city promises, only in the heat of passion, economic and social possibilities, a chance to live out the full contract of American democracy. And the city finds no better stage for its wooing of these new generations of Americans than that of the vaudeville theater.
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Krivolapov, O. O. "Missile Defense of the U.S. and Their Allies in Northeast Asia and Regional Security." Asia and Africa today, no. 6 (December 15, 2024): 5–14. http://dx.doi.org/10.31857/s032150750031033-8.
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The situation around the Korean Peninsula combines such factors as nuclear weapons, missile defense systems, and huge groups of conventional armed forces concentrated in Northeast Asia. The U.S. administration argues that missile defense’s mission is to counter the threat from North Korean missiles to American and allied troops in South Korea and Japan. Hence, this line of confrontation between the U.S. and DPRK is at the focus of the article. A significant number of experts believe that regional missile defense (theater missile defense, TMD) will only stabilize the situation. The purpose of this article is to determine a possible impact of strengthened TMD architecture of the U.S., South Korean and Japanese forces for the security situation in the region under consideration. The author analyzes scenarios, which are most often discussed by experts, scientists, military, and politicians. The role of the doctrinal guidelines of the DPRK, South Korea and the United States in aggravating the situation in the event of strengthening of the American and allied regional missile defense system in Northeast Asia in the context of a political-military crisis is shown.
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Demastes, William W. "THE HISTORY OF NORTH AMERICAN THEATER. THE UNITED STATES, CANADA, AND MEXICO: FROM PRE-COLUMBIAN TIMES TO THE PRESENT." Resources for American Literary Study 29, no. 1 (2004): 343–45. http://dx.doi.org/10.2307/26367158.
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Demastes, William W. "THE HISTORY OF NORTH AMERICAN THEATER. THE UNITED STATES, CANADA, AND MEXICO: FROM PRE-COLUMBIAN TIMES TO THE PRESENT." Resources for American Literary Study 29, no. 1 (2004): 343–45. http://dx.doi.org/10.2307/resoamerlitestud.29.2004.0343.
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Wilmer, S. E. "The History of North American Theater: The United States, Canada, and Mexico: From Pre-Columbian Times to the Present (review)." Theatre Journal 52, no. 2 (2000): 294–95. http://dx.doi.org/10.1353/tj.2000.0064.
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Mohammadi, Banafsheh. "Of Architecture and Hope." Journal of the Society of Architectural Historians 81, no. 3 (2022): 357–71. http://dx.doi.org/10.1525/jsah.2022.81.3.357.
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Abstract Of Architecture and Hope: The Citadel Theatre of Edmonton and the Cruel Optimism of a Bygone Petroleum Age explores how one of the largest theaters built in North America in the twentieth century represents a form of petroleum-driven “cruel optimism,” a concept introduced by Lauren Berlant. Drawing upon a wide range of primary sources from the City of Edmonton Archives, the Provincial Archives of Alberta, the University of Alberta Archives, and the private archives of the family of theater cofounder Joe Shoctor, Banafsheh Mohammadi provides a detailed analysis of the design and materials of the Citadel Theatre as a means of examining how they exemplify a distinctive twentieth-century form of petroleum-based aesthetics.
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Woodsmall, ZoraAnn, and Sara Hare. "Gender Through the Lens of Children’s Films." Advances in Social Sciences Research Journal 9, no. 9 (2022): 1–10. http://dx.doi.org/10.14738/assrj.99.13026.
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This content analysis study sheds light on the gender inequality in popular children’s animated films. The dataset uses the North American theater grosses to rank the most popular 150 animated children’s films from 1990-2020. We found multiple patterns of gender inequality related to speaking roles, lead characters, physical portrayals, social roles, interpersonal relationships, and even the creators of the films. Male characters had three times as many speaking roles as female characters and had the lead role in 80% of the films. Correspondingly, 80% of the film creators (writers, directors, and producers) were male. Films that passed the Bechdel test had twice as many female writers as those that failed the test. The inequality and gender stereotyping one sees in the real world is reflected in this study of children’s films. Animated films are a popular media outlet for children, and this study highlights the impact that these skewed representations can have on children.
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Novaes, Allan Macedo de, and Carlos Augusto Souza Magalhães. "Ficção audiovisual adventista. Um estudo netnográfico sobre as reações de internautas às produções da Igreja Adventista na plataforma de streaming Feliz7play." Revista Eclesiástica Brasileira 80, no. 315 (2020): 61. http://dx.doi.org/10.29386/reb.v80i315.2022.
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O presente artigo busca analisar as reações e comentários de seguidores de páginas e canais oficiais da Igreja Adventista do Sétimo Dia nas redes sociais sobre a produção de conteúdos de ficção audiovisual na plataforma de streaming Feliz7play. Para tanto, o artigo elabora um panorama socio-teológico da relação conflituosa entre o adventismo e a ficção audiovisual, seguida de uma breve descrição do uso de ficção audiovisual pelos adventistas no contexto estadunidense e latino-americano e, por fim, propõe uma análise netnográfica da reação dos adventistas às obras de ficção audiovisual na plataforma Feliz7Play através das páginas oficiais da denominação nas redes sociais. Conclui-se que os problemas teológicos que a cultura adventista considera que a ficção audiovisual possui são uma projeção da crítica que o discurso fundador elaborou sobre a ficção na literatura e no teatro que, por sua vez, repercute na produção de conteúdo ficcional adventista na atualidade.Abstract: This article seeks to analyze the reactions and comments of followers of official Seventh-day Adventist Church pages on social networks about the production of audiovisual fiction content on the Feliz7play streaming platform. To this end, the article elaborates a socio-theological overview of the conflicting relationship between Adventism and audiovisual fiction, followed by a brief description of the use of audiovisual fiction by Adventists in the North American and Latin American context and, finally, proposes a Netnographic analysis of Adventists’ reaction to audiovisual fiction productions on the Feliz7Play platform through the Adventist official pages on social networks. It is concluded that the theological problems that Adventist culture considers audiovisual fiction to have are a projection of the criticism that the founding discourse elaborated on fiction in literature and theater, which, in turn, has an strong impact on the production of fictional Adventist content today.
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Hare, Sara, and Mariah Benham. "Life According to Popular Children's Films." Advances in Social Sciences Research Journal 8, no. 6 (2021): 10–21. http://dx.doi.org/10.14738/assrj.86.10228.
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This content analysis uses data gathered from the 150 top-grossing children’s animated films from 1990 to 2020 (based on North American theater sales) to examine the gender disparities and stereotypes in children’s media. The study shows that female characters are underrepresented in lead roles (14%), main gangs (28.1%), and speaking roles (27.2%). The central female characters are portrayed stereotypically. When female characters appear, they are more likely to be portrayed in a romantic and family relationship than male characters. However, films with a greater percentage of women writers are correlated with more speaking roles for female characters. The impact of media on children’s development is indisputable due to the way technology has become ingrained in day-to-day life. The lack of representation of female characters reinforces the stereotypical portrayals that negatively affect the self-esteem of girls and train boys to expect an androcentric world. The skewed and stereotypical portrayal of female characters fails to accurately represent the diversity of other parts of the world. While many of these films are produced in the West, they are widely distributed and consumed all over the world.
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Brown, Sara Black. "A Festival of Chariots: How Music and the Arts Take the Hindu Temple Experience to the Streets." Religions 15, no. 12 (2024): 1456. http://dx.doi.org/10.3390/rel15121456.
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Among the most prominent Hindu festivals is the Rath Yatra, or Festival of Chariots, which is celebrated by parading three brightly decorated chariots containing statues of the deities Jagganath, Subhadra, and Balaram through the streets of a city on brilliantly decorated chariots. Rath Yatra is celebrated throughout India and increasingly throughout the world through such efforts as the Festival of India sponsored by the International Society of Krishna Consciousness (ISKCON), which stops in several prominent locations throughout North America. Within Krishna Consciousness, temple worship is an aesthetically vivid sensory experience in which the various art forms—music, dance, theater, and the visual arts—serve to attach the devotee’s senses to the Divine through worship practices, including darshan—the exchange of gazes, kirtan—the singing of sacred mantras, and lila—the re-creation of the pastimes of divine characters. The festival experience—and the Festival of Chariots in particular—can serve to bring the practices typically associated with temple worship to the public. This article draws on several Rath Yatra events, giving special attention to the annual Rath Yatra parade held in New York City, where devotees parade their deities down Manhattan’s Fifth Avenue, and that held in Los Angeles on Venice Beach. These prominent American Rath Yatras serve as a study of the spiritual necessity of beauty and the spiritual necessity of joy, which are both addressed by the festival experience, as music and vivid visual imagery serve to transform urban space into sacred space by allowing bypassers as well as devotees to come into sensory contact with sacred imagery and sacred sound.
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Bustamante, Fernando. "Tennessee Williams e Erwin Piscator: influências, divergências e a colaboração no Dramatic Workshop." Dramaturgia em foco 7, no. 2 (2025): 24–42. https://doi.org/10.5281/zenodo.14859583.
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No início da década de 1940, Tennesse Williams passou por uma experiência de aprendizagem e trabalho no Dramatic Workshop, escola teatral dirigida pelo expoente do teatro político Erwin Piscator em Nova York. O artigo pretende explorar brevemente a relação e os debates entre os dois artistas e, a partir do projeto de encenação não efetivado de<em> Battle of </em><em>a</em><em>ngels</em> (<em>Batalha dos </em><em>a</em><em>njos</em>) no Studio Theatre ligado ao Dramatic Workshop e da análise de procedimentos estilísticos provenientes do teatro épico em <em>The </em><em>g</em><em>lass </em><em>m</em><em>enagerie </em>(<em>À </em><em>m</em><em>argem da </em><em>v</em><em>ida</em>), refletir sobre as influências do pensamento e da prática teatral de Piscator sobre Williams, bem como a forma como estas são apropriadas e ressignificadas por este.
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Shiomi, R. A. "Crossing Borders." Canadian Theatre Review 56 (September 1988): 16–19. http://dx.doi.org/10.3138/ctr.56.004.
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Since working on my first play, Yellow Fever, in 1982, I have been deeply involved in Asian North American theatre. I use that label because most of my development and productions have been in the United States, and I have found such a similarity in the character and problems of Asian-Canadian and Asian-American theatre, that I have come to see both as part of a single theatrical phenomenon/movement. This movement is composed of playwrights, directors, actors et al. who are Asian North Americans and address themselves to the particular realities of that life experience. I use the term Asian to cover a broad territory, including Japanese, Chinese, Filipino and Korean, all of whom have to deal with the problem of being “visible minorities” in a predominantly Western European/North American culture. To a certain degree the problems are similar to those confronting Black and Native professionals, though neither of these has to deal with the foreign culture label. In this article I will chart the development of Yellow Fever and use my experience with that play to reflect on the state of the Asian North American Theatre Movement.
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Mundim, Isabella Santos. "História, utopia e contranarrativa da nação em Angels in America." Aletria: Revista de Estudos de Literatura 19, no. 1 (2009): 169–79. http://dx.doi.org/10.17851/2317-2096.19.1.169-179.
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Resumo: Este artigo visa analisar Angels in America, a Gay Fantasia on National Themes, do dramaturgo norte-americano Tony Kushner. Kushner, neste que é seu trabalho de maior impacto, retoma eventos e figuras da história recente de seu país, com foco na crise que a epidemia de AIDS desencadeia, o descaso do governo Reagan em relação às minorias que a epidemia vitima e a consequente devastação que acomete a comunidade gay da época. Nessa perspectiva, o trabalho de Kushner supera o mero registro e aponta para acontecimentos e pessoas ausentes do relato dominante. Para além da versão oficial, emerge aí uma contranarrativa da nação, comprometida com a construção de uma memória dos Estados Unidos a partir do viés da margem e da exclusão.Palavras-chave: Tony Kushner; dramaturgia norte-americana contemporânea; contranarrativa da nação.Abstract: This article analyses Angels in America, a gay fantasia on national themes, by the American dramatist Tony Kushner. In what many believe to be his major work, Kushner weaves the lives of fictional and historical characters into a web of social, political, and sexual revelations, focusing on the discovery of AIDS, the disregard with which politicians marginalized its early spread and the impact of the disease on the gay community. As it is, Kushner’s work rethinks the recent past and portrays alternatives absent from the dominant reports. Moving beyond the official version of events, Angels in America is thus a counter-narrative, one where the master narrative implodes on itself, one where new stories arise out of the ashes of that explosion.Keywords: Tony Kushner; contemporary American theater; national narrative and counter-narrative.
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Moon, Krystyn R. "Chinatown Opera Theater in North America. By Nancy Yunhwa Rao . Music in American Life. Urbana: University of Illinois Press, 2017; pp. xvi + 416, 64 illustrations. $95 cloth, $29.95 paperback, $26.96 e-book." Theatre Survey 59, no. 1 (2018): 115–17. http://dx.doi.org/10.1017/s0040557417000552.
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Neves, David Medeiros. "As primeiras produções das peças de Tennessee Williams em São Paulo." Dramaturgia em foco 7, no. 2 (2025): 306–24. https://doi.org/10.5281/zenodo.14873421.
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Este artigo apresenta e descreve as circunstâncias das montagens das primeiras estreias das peças de Tennessee Williams no contexto teatral de São Paulo entre 1948 e 1964. Por meio de uma investigação abrangente em diversas fontes acadêmicas e históricas, ao descrever a ficha técnica, a recepção e a importância do espetáculo no cenário da cidade, destaca-se o papel crucial desempenhado por essas produções na revitalização do teatro paulistano. As montagens não apenas contribuíram para o avanço do teatro moderno brasileiro, mas também foram fundamentais na consolidação das carreiras de diversos artistas que se tornaram figuras-chave na história do teatro no país. Essa influência se manifestou no sucesso das peças em si, mas também na maneira como impactaram a estética teatral e a narrativa dramática da época. Sendo assim, este estudo lança luz sobre a duradoura importância do trabalho de Tennessee Williams no contexto teatral brasileiro.
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KRUGER, LOREN. "Introduction: Diaspora, Performance, and National Affiliations in North America." Theatre Research International 28, no. 3 (2003): 259–66. http://dx.doi.org/10.1017/s0307883303001123.
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Although current theories of diaspora argue for a break between an older irrevocable migration from one nation to another and a new transnational movement between host country and birthplace, research on nineteenth- as well as twentieth-century North America demonstrates that earlier migration also had a transnational dimension. The cultural consequences of this two-way traffic include syncretic performance forms, institutions, and audiences, whose legitimacy depended on engagement with but not total assimilation in local conventions and on the mobilization of touristic nostalgia in, say, Cantonese opera in California or Bavarian-American musicals in New York, to appeal to nativist and immigrant consumers. Today, syncretic theatre of diaspora is complicated on the one hand by a theatre of diasporic residence, in which immigrants dramatize inherited conflicts in the host country, such as Québécois separatism in Canada, along with problems of migrants, among them South Asians, and on the other by a theatre of non-residence, touring companies bringing theatre from the home country, say India, to ‘non-resident Indians’ and local audiences in the United States.
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Balme, Christopher B. "Cultural Anthropology and Theatre Historiography: Notes on a Methodological Rapprochement." Theatre Survey 35, no. 1 (1994): 33–52. http://dx.doi.org/10.1017/s0040557400002544.
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After a century of carefree source research conducted against the background of positivist objectivism, theatre historiography now finds itself in the throes of a methodological paradigm shift. Quite independent of its historical disciplinary affiliations, whether as an extension of literary criticism of the various national literatures or as a subsidiary of the historical sciences, theatre historiography is no longer able to resist engagement with fundamental and increasingly complex methodological debates. Particularly in North America there has been a broad discussion on the crisis of traditional, positivist theatre history. The result has been to open up theater historiography to other approaches such as semiotics and diverse theories and methodologies of a poststructuralist provenance. Despite this intensifying and often broad-ranging methodological debate there have been hitherto hardly any attempts to bring theatre history into a dialogue with historical anthropology or ethnohistory, both of which are strongly influenced by the methodologies of cultural anthropology. The deficit is all the more remarkable as these areas have ignited a veritable explosion of interest amongst historians and ethnologists which has transcended the narrow disciplinary borders of both fields of scholarship.
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Makarov, Egor P. "The battle of the Plains of Abraham and the battle of Sainte-Foy in perception of changes of the North American theater of the fighting activities of the Seven Years War in 1759-1760." Vestnik Tomskogo gosudarstvennogo universiteta. Istoriya, no. 80 (December 1, 2022): 125–32. http://dx.doi.org/10.17223/19988613/80/14.
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Vulovič, Mima. "Self-imposed Marginality." Canadian Theatre Review 82 (March 1995): 32–35. http://dx.doi.org/10.3138/ctr.82.008.
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The theatre season of the year I arrived in Canada was marked by The Kiss of the Spider Woman. Later, while watching it receive all the Tonys that it did, I noted, in front of a fellow actor, how unimaginable it would be for, say, Peter Brook, Eugenio Barba and Heiner Muller – in short, the established theatre people in Europe – to rejoice in a standing ovation to a piece that through “sizzling” song and dance “celebrates” the tragedy of a gay man and a revolutionary in a Latin American prison. And how this still remains the most important distinction in the “culture of theatre” between the two continents, in terms of both ethics and aesthetics, as obvious and banal as the comparison may seem. I was promptly instructed then that, yes, there is “them” – commercial theatre, and there is “us” – fringe theatre, serious theatre to be exact, and although both may constitute the theatre culture at large, the distinction is quite clear, here in North America, too.
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Hughes, Bethany. "Jesse Rae Archibald-Barber, Kathleen Irwin, and Moira J. Day, eds., Performing Turtle Island: Indigenous Theatre on the World Stage." Modern Drama 64, no. 1 (2021): 109–13. http://dx.doi.org/10.3138/md.64.1.br1.
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Performing Turtle Island curates experiences with and philosophies of Indigenous theatre. Critical Companion to Native American Theatre and Performance provides brief overviews of important events, artists, and organizations in North American Indigenous theatre. The former ranges in tone and topic; the latter is introductory and especially useful in undergraduate classrooms.
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Fearnow, Mark. "The History of North American Theater: The Untied States, Canada, and Mexico: From Pre-Columbian Times to the Present. By Felicia Hardison Londré and Daniel J. Watermeier. New York: Continuum, 2000; pp. 541. $39.95 paperback." Theatre Survey 41, no. 2 (2000): 125–27. http://dx.doi.org/10.1017/s0040557400003914.
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Feral, Josette. "There Are at Least Three Americas…" New Theatre Quarterly 3, no. 9 (1987): 82–88. http://dx.doi.org/10.1017/s0266464x00008538.
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The Theatre Festival of the Americas, launched in the summer of 1985. attempts to bring this huge continent – perhaps too often preoccupied with looking back to European and other antecedents – into mutual self-awareness: between North America and South, and between both hemispheres and the newly-assertive states of Central America. Josette Feral, currently teaching in the Département de Théâtre at the Université du Québec in Montreal, reports on the companies represented at the inaugural festival, and at what their work seems to suggest about present preoccupations and potential cross-fertilization.
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Ilari, Mayumi Denise Senoi. "Rumos do teatro norte-americano: continuidades e contradições em duas de suas principais companhias de teatro de vanguarda, na cena contemporânea." Pitágoras 500 4, no. 1 (2014): 58–74. http://dx.doi.org/10.20396/pita.v4i1.8634713.
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O presente trabalho discute os rumos da produção dramatúrgica recente de dois dos principais grupos da vanguarda teatral norte-americana nos anos 1960: as companhias San Francisco Mime Troupe e Bread and Puppet Theatre. Criadas em um período de profundas mudanças culturais, trouxeram experimentações radicais à cena norte-americana, desde influências dos teatros expressionista, surrealista e técnicas de agit-prop russo/ europeu, ao teatro épico e dialético e à radicalização de técnicas de animação e improviso. Ativos e atuantes no presente, resistem à contracorrente da lógica da arte-mercadoria, ajudando a compor uma importante tendência no panorama da arte engajada no contexto teatral norte-americano contemporâneo.
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Vay, John Le. "Margaret Anglin, A Stage Life." Canadian Theatre Review 71 (June 1992): 95–96. http://dx.doi.org/10.3138/ctr.71.015.
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Few readers of this review will know the name of Margaret Anglin (1876-1958). This may be a sad comment on the general interest and appreciation of the history of theatre in North America, but such is the reality of an art form that ceases to exist as soon as it is created. Had this long-lived, talented actress and producer made a few films - had she, like Marie Dressler or Ethel Barrymore, moved to Hollywood late in her career - she might now still be a familiar name, because we could see a small piece of her work. She did not; and yet she was, for a time, arguably the most important actress on the continent. Of the many important figures in the history of North American theatre who deserve to be retrieved from obscurity, Margaret Anglin is unquestionably one, both as representative of her time and as an influence on her time.
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Sukhlenko, Yurii. "«Les Sauvages» by J.-P. Rameau: a marketing ploy or an exercise in musical characterization?" Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 141 (November 28, 2024): 133–46. https://doi.org/10.31318/2522-4190.2024.141.319216.
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The relevance of the study is to search for new perspectives on the phenomenon of programmability and characterization in the works of French harpsichord composers of the first third of the eighteenth century on the basis of one of the most popular miniatures by J.-P. Rameau «The Savages». In the research, the choice of the title is analyzed in connection with the principles of involvement of musical idioms of the time in the musical text to reproduce the exotic image, defined by the verbal program. The applied complex methodological approach allows us to find out the peculiarities of the reaction of Parisian salon musicians to the representatives of the nonEuropean «other» culture, which was presented by the delegation of North American Indians who visited Paris in 1725. The colorful images of «savages» could not go unnoticed by composers and music publishers, who, by titling musical works that evoked associations with exotic portraits of foreigners, increased the demand for their own musical products. Should we look for signs of crosscultural intersections only in the headline «inventions» or have recent impressions left their mark on musical texts? If so, to what extent did the existing «good taste» allow the composer and performer to authentically «copy» the exotic original? The search for answers to these questions is the main plot of this article. Main objective is to outline the specifics of the embodiment of the image of «savages» in music by prominent masters of European art, to comprehend the marketing prerequisites for creating a harpsichord piece in the context of this theme and the means of musical characterization of Indians proposed by J.-P. Rameau. The methodology consists of a comprehensive methodological approach that includes historical and contextual, biographical, comparative, genre and stylistic, and performance analysis methods. Results and conclusions. An overview of J.-P. Rameau’s compositional experience in reflecting Indians in music allows us to clearly separate the musical miniature «Les Sauvages» from other works of Indian music by his predecessors and contemporaries — it is the experience of direct acquaintance and the intention to «characterize» the exotic object of observation through the means of musical art. In «Les Sauvages», as in an early attempt at musical «characterization, » the composer did not try to literally imitate the original music of the native Americans. He used the musical vocabulary of his time, but, at the same time, he went beyond it, applying an emphatically extravagant, «savage» style of writing, undoubtedly brilliantly conveying the temperament of the performers of Indian dance on the stage of the Italian Theater in September 1725.
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Zhamanova, Amina A. "Eugene O’Neill’s Long Day’s Journey into Night across the North and South America." Literature of the Americas, no. 16 (2024): 390–411. http://dx.doi.org/10.22455/2541-7894-2024-116-390-411.
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This article is focused on the reconstruction of major stage productions based on Eugene O’Neill’s autobiographical play Long Day’s Journey into Night (1941). The author reviews the American tragedy staged by Latin American directors Jose Quintero (Helen Hayes Theatre, New York, 1956) and Luciano Suardi (Teatro San Martin, Buenos Aires, 2023). Special attention is paid to the first screen version of the play (directed by Sidney Lumet, USA, 1962) and its last staging on Broadway (directed by Jonathan Kent, American Airlines Theatre, New York, 2016). Also under scrutiny are Eugene O’Neill’s private correspondence with the Spanish translator of his plays Leon Mirlas and the negotiations held between director Elia Kazan and playwright’s widow Carlotta Monterey O’Neill. For the first time in the history of Russian theatre studies we see an attempt to identify the causes for a failed U.S. Premiere of O’Neill’s tragedy in 1956 under Kazan’s direction.
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Gevel, Olga E. "The genesis of Eastern European text in Donna Tartt's novels: Bestiary and poetics of cold in The Secret History." Vestnik Tomskogo gosudarstvennogo universiteta, no. 478 (2022): 14–20. http://dx.doi.org/10.17223/15617793/478/2.
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This article deals with the problem of reception of Eastern Europe in Donna Tartt's novels as the first attempt to further studies. The material of the writer's first novel, The Secret History, highlights motifs related to the semantics of cold (winter, blizzard, pallor), oppositions of “North” and “South” (both in the plot of the novel and in the names of the characters), and bestiary symbols (associations with a dog, a rabbit, a bird, and deer hunting) in the plot, and onomastics of The Secret History. According to O.M. Freudenberg, the significance expressed in the character's name and, consequently, in their metaphorical essence unfolds into an action that constitutes a motif: the characters do only what they semantically mean. The influence of the Chronicles of Narnia by C.S. Lewis on the formation of the named complex of motifs (and the antique background of the story) is obvious; however, in the perspective of the following Donna Tartt's novels, these motifs are also included in the Eastern European text described by the American historian Larry Wolff in his work Inventing Eastern Europe (1994): with obligatory coldness (remoteness/detachment), savagery (animality), sensuality, ambivalence (up to inversions), theatricality, a mixture of attraction and frightening. The Secret History mentions two classics of Russian literature, Leo Tolstoy and Fyodor Dostoevsky, which allows us to note: the emerging “Eastern European” associations are not accidental. The motifs of cold and bestiary symbolism are also important in Tartt's second novel, The Little Friend (2002). However, in her third novel, The Goldfinch (2013), a secondary character Boris Pavlikovsky appears, connected by his fate with Russia, Poland, and Ukraine. This image will ultimately concentrate the considered motifs and symbols. However, the “East European” layer, of course, is only one of the significant semantic fields of The Secret History: associations with ancient mythology, the Elizabethan theater, and modern literary context (for example, the genre of a university novel) are also important. Nevertheless, in Tartt's first novel, methods and approaches are outlined, which manifested themselves more clearly in the following works - the more important it is to localize and track the development of motifs caused by an obvious interest in Eastern European culture and literature.
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Goodwin, Jill Tomasson, Don Rubin, and Michael J. Sidnell. "The Theatre’s Nations: The World Encyclopedia of Contemporary Theatre: Volume I: Europe." Canadian Theatre Review 86 (March 1996): 58–60. http://dx.doi.org/10.3138/ctr.86.011.
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This volume is the first of a planned five that will constitute WECT, “a project implemented with the support of UNESCO”. Volume 2 is to be devoted to the theatre of “The Americas”; Volume 3 to the theatre of Africa; Volume 4 – varying the geographical definitions – to “The Arab World”; and Volume 5 to “Asia/Oceania”. Culture and language are clearly not conceived as organizing principles for a work which puts Britain, Australia and North America in three different volumes and similarly apportions francophone and hispanic theatrical manifestations according to geo-political criteria. But nor, as the definition “Arab World” indicates, is the overall organizing principle a strictly geographical one. In fact, the “Europe” of Volume 1 includes, without explanation, Israel and Turkey.
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Hughes, Bethany. "On Inclusion and Resurgence: The State of North American Indigenous Theatre and Performance Scholarship." Theatre Journal 75, no. 4 (2023): 497–509. http://dx.doi.org/10.1353/tj.2023.a922219.
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Abstract: This article follows the structure of a pop song—verse, chorus, verse, chorus, bridge, chorus—to put into relationship scholarship on North American Indigenous theatre and performance, the current state of academia, the politics of Indigeneity, and critiques of recognition and inclusion from Indigenous Studies. Historicizing Indigenous theatre scholarship and production alongside Peter Morin and Jimmie Kilpatrick’s participatory karaoke performance, “Love Songs to End Colonization,” models disciplinary inclusion and how Indigenous performance challenges it. This essay turns to Glen Coulthard’s call for Indigenous resurgence and Dylan Robinson’s demonstration of disciplinary redress to explicate why Indigenous performance can be aesthetically and politically powerful. In singing these disparate ideas together, this essay considers the benefits and pitfalls of inclusion for Indigenous theatre into North American theatre production, scholarship, and higher education as well as issue a warning against complacent inclusion and mere celebrations of diversity. Indigenous performance asks more than theatre and performance studies often acknowledges; to engage with it robustly and productively, the field must be open to singing a song it is just beginning to learn.
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Souza, Jonathan Renan da Silva. "The American theatre on the London stage: Tennessee Williams at the Royal Court Theatre." Dramaturgia em foco 8, no. 2 (2024): 426–41. https://doi.org/10.5281/zenodo.14046372.
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This article aims at disseminating knowledge to experts and researchers interested in American theatre of the presence of plays from the United States at the internationally recognised Royal Court Theatre in London, one of the birthplaces of modern British drama, especially for revealing new authors. It focuses on plays by Tennessee Williams (1911-1983), one of the playwrights among the distinct group of American playwrights whose work was taken to the stage of the legendary theatre. The historiographic character of this text will be intertwined with brief analyses of the relation between content and form of Tennessee’s plays which possibly attracted the attention of the artistic directors of the Royal Court and made possible a relevant exchange between the American and the modern British theatre in the post-war period.
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Varty, Anne. "Marlis Schweitzer. Bloody Tyrants and Little Pickles: Stage Roles of Anglo-American Girls in the Nineteenth Century." Modern Drama 65, no. 1 (2022): 135–37. http://dx.doi.org/10.3138/md-65-1-br7.
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Scholarly and accessible, Bloody Tyrants and Little Pickles, an investigation of the nineteenth-century child actresses Clara Fisher and Jean Margaret Davenport in Britain and North America, will be of interest to researchers and students of nineteenth-century theatre, transatlantic theatre, theories of girlhood, cultural expressions of racial hierarchy, and theatre and empire.
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Diamond, Catherine. "Human See, Human Do: Simianification, Cross-species, Cross-cultural, Body Transformation." New Theatre Quarterly 31, no. 3 (2015): 263–88. http://dx.doi.org/10.1017/s0266464x1500041x.
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Simianification is the practice of humans inhabiting the simian body on stage. Because Asians have lived with monkeys and apes, several Asian theatre traditions have long legacies of representing monkeys on stage. In Europe and North America, where non-human primates did not exist, they are not a familiar feature in performance until nineteenth-century music hall and circus and twentieth-century film and television. In some recent performances in Asia dancers and actors have expanded their understanding of monkey roles by incorporating scientific discoveries, modern movement techniques, and global pop culture. On the British and American stage, actors experiment to ‘impersonate’ the humanized ape bodily and mentally, without the aid of the disguises and prosthetics usual in film. These performers ‘embody’ the philosophical inquiry of what it means to ‘be monkey’ by inhabiting a monkey’s body while still performing ‘art’ for a human audience. Catherine Diamond, a Contributing Editor to NTQ, is a professor of theatre and environmental literature at Soochow University, Taiwan. She is also the director of the Kinnari Ecological Theatre Project in Southeast Asia.
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Burgess, David. "Toronto Brecht: 30 Years After." Canadian Theatre Review 50 (March 1987): 75–77. http://dx.doi.org/10.3138/ctr.50.013.
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From the 20th to the 26th of October of last year, in commemoration of the 30th anniversary of Bertholt Brecht’s death, the University of Toronto harnessed the organizational drive of Pia Kleber and some of millionaire Ed Mirvish’s dollars to host Biecht: 30 Years After, a retrospective and re-assessment of the impact of the Marxist German playwright/director. The prominence of practical theatre workers and their companies distinguished this event from other academic symposia, with visitors attending from Europe, the US, Latin America, and both French and English Canada. The public relations coup anchoring the event was the North American debut of the company Brecht founded in the 1950s, the celebrated Berliner Ensemble, which performed two of Brecht’s plays at Mirvish’s rococo palace, The Royal Alexandra Theatre. The disappointing Berliner, and the exciting example of a more modest company – Scotland’s 7:84 – helped shape a lesson to Canadians interested in developing political (read: leftist) theatre – namely that there is a semiotics of affluence, and that official culture cannot agitate to change a society.
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Krasner, David. "Forgeries of Memory & Meaning: Blacks & the Regimes of Race in American Theater & Film before World War II. By Cedric J. Robinson. Chapel Hill: University of North Carolina Press, 2007. Pp. 456 + 21 illus. $65 Hb; $22.50 Pb." Theatre Research International 34, no. 3 (2009): 320–21. http://dx.doi.org/10.1017/s0307883309990162.
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Johnston, Denis. "The Musical Coast / 1: Knowing What They Want." Canadian Theatre Review 72 (September 1992): 11–15. http://dx.doi.org/10.3138/ctr.72.002.
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If music is truly the universal language, then musical theatre in Vancouver should be no different than in many other North American cities. And to a great degree this is true. Musical theatre has a way of obliterating cultural difference, as you would have seen the night you went to Phantom of the Opera. (We all went eventually, didn’t we.) In the international marketplace of the ’90s, there is plenty of cross-border shopping in musical theatre.
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AMINE, KHALID, HAZEM AZMY, and MARVIN CARLSON. "IFTR's Arabic Theatre Working Group." Theatre Research International 35, no. 3 (2010): 263–74. http://dx.doi.org/10.1017/s030788331000057x.
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This collaborative article looks at the establishment in 2006 of an IFTR/FIRT working group in Arabic theatre, and the significance of this in terms of breaking the twentieth-century, hegemonic hold of European and North American subjects in theatre research. We trace the development of the working group from preliminary conferences and gatherings outside IFTR to its set-up and organization within the Federation. Surveying our methodologies, key issues, research areas and future directions, we argue the significance of the group's work in creating a research forum for Arab theatre scholarship.
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Kirkley, Richard Bruce. "Caravan Farm Theatre: Orchestrated Anarchy and the Creative Process." Canadian Theatre Review 101 (January 2000): 35–39. http://dx.doi.org/10.3138/ctr.101.007.
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Caravan Farm Theatre, located in the Salmon River Valley north-west of Armstrong, BC, has been delighting audiences with original and unconventional outdoor theatre for thirty years. Since its beginnings in the late sixties as a horse-drawn caravan, the company has long been dedicated to the development of a counter-cultural theatre and lifestyle in opposition to the technological and consumerist preoccupations of the North American mainstream. With its roots in sixties radicalism, in street theatre and guerrilla theatre and in experiments with collective creation and communal living, Caravan’s approach to theatre is fundamentally informed by an ideology of anarchism. Through recent interviews with theatre artists closely associated with Caravan, including actor/play-wright Peter Anderson, former artistic director Nick Hutchinson, current co-artistic director Estelle Shook and former publicist Ken Smedley, I inquired into the nature of a creative process underscored by the need to reconcile the tension between individuality and collectivity – a tension central to the practical pursuit of anarchism. The interviews reveal how the anarchistic ideals deeply embedded in Caravan’s way of working give rise to an unorthodox, yet effective, creative process that generates performances of great spontaneity and immediacy.
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Dénommé-Welch, Spy, and Monique Mojica. "Moccasins on the Ground: Rerooting the Indigenous Performing Body." Canadian Theatre Review 194 (April 1, 2023): 9–12. http://dx.doi.org/10.3138/ctr.194.002.
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This article asks, Which stages are we sustaining within and across North American theatre spaces? Whose theatre, stories, and narratives are normalized and entrenched in contemporary art and cultural practices? Can or should they be sustained when such practices reinforce Eurocentric norms while displacing the original storytelling and performance practices of this Land? Ought the industry and systems that uphold the mainstream stage be sustained? It spins an allegory to address these questions featuring Ol’ Waboos, who goes to the theaataah!
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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 (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.