Academic literature on the topic 'North-american theatre'
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Journal articles on the topic "North-american theatre"
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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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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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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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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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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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Brown, Bryan. "The Translation of Protest: The Worldwide Readings Project of Andrei Kureichyk’s Insulted. Belarus." New Theatre Quarterly 39, no. 1 (2023): 1–17. http://dx.doi.org/10.1017/s0266464x22000331.
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On 9 August 2020, Belarus erupted in protest over the falsified election results promoted and endorsed by existing president Aliaksandar Lukashenka. Playwright, director, and member of the Coordination Council for the peaceful transfer of power in Belarus, Andrei Kureichyk was one of the thousands on the streets that month. In early September he finished a new play depicting the events leading up to and surrounding the largest anti-government demonstrations in Belarus’s history. Before going into hiding, Kureichyk sent the play, Insulted. Belarus, to former Russian theatre critic John Freedman for translation. Together, the two men hoped to have a few theatres in various European and North American countries give a reading of the play in solidarity with the people of Belarus. Neither of them expected that, within two months, the play would be translated into eighteen languages and receive over seventy-seven readings on digital platforms. While many companies were eager to add their name to the global ledger of solidarity, the rise of authoritarianism, as well as the renewed reckoning with systemic racism and sexism in many cultures and countries around the world, additionally meant that many theatres found in the play a vehicle to reflect and comment on their own situations. This article, written by one of the initial participants of the project, attempts to chart how the Worldwide Readings of Insulted. Belarus navigated the translation of protest from Belarus to the world. Bryan Brown is Senior Lecturer at the University of Exeter and co-director of visual theatre company ARTEL (American Russian Theatre Ensemble Laboratory) and author of A History of the Theatre Laboratory (Routledge, 2019). He is a member of the editorial board of Theatre Dance and Performance Training, co-editing the special issue ‘Training Places: Dartington College of Arts’ (2018).
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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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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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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!
Dissertations / Theses on the topic "North-american theatre"
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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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Chang, Eury Colin. "Railroad plays : performing reconciliation in Asian North American theatre." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44240.
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Railroad plays: performing reconciliation in Asian North American theatre is a study into a specific sub-genre of theatre coming out of the Asian Canadian and Asian American demographic. I use the term "railroad plays" to describe a body of work that gives voice to immigrant experiences working on the railroad. In a nutshell, railroad plays allow us to revisit and better understand historical prejudices of the late 19th and early 20th century. Additionally "performing reconciliation" is a term I use to suggest how contemporary theatre can help minority groups to engage in social activism, by imagining new ways of looking at history while reconsidering intercultural relationships. I argue that playwrights employ a variety of dramatic techniques - storyline, language and symbols, characterization, genre, and references to historical events - in order to encourage readers and audiences to reconsider intercultural relationships in North America. In this thesis, I analyze the dramatic text of two railroad plays: Forbidden Phoenix by Marty Chan, and lady in the red dress by David Yee. Both playwrights make references to historical moments and use the building of the Canadian Pacific Railway as a way to discuss broader issues such as human rights, inequality, and immigration. Additionally, I analyze a third railroad play by American playwright, David Henry Hwang. I provide a literary analysis to the play text coupled with a performance review of a 1998 Vancouver production, paying close attention to physicality, intercultural elements and audience reception. The purpose of my thesis is to draw meaningful connections between theatre practice and social justice, by asking: How do railroad plays contribute to a more nuanced knowledge and understanding of theatre history and intercultural relationships in Canada?
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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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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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Oliveira, Ronaldo Alves de. "Teatro Campesino & Black Revolutionary Theatre: ruptura, inovação e transformação." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-02022010-155111/.
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Este trabalho examina a forma estética sob os tópicos ruptura, inovação e transformação de 5 peças no contexto de reivindicações sócio-políticas da década de 1960 nos Estados Unidos por parte de dois grupos teatrais extremamente significativos em suas propostas e atuação, a saber: o Teatro Campesino (TC), feito por e para chicanos na Califórnia, e o Black Revolutionary Theatre (BRT - Teatro Negro Revolucionário), feito por e para afro-americanos em Nova York.<br>This paper reviews the aesthetic form under the topics rupture, innovation and transformations in 5 plays in the context of social political demands in the 1960s in the United States by two extremely significant theatre groups concerning their goals and performance, to wit: Teatro Campesino (TC), made by and for Chicanos in California, and Black Revolutionary Theatre (BRT), made by and for Afro-Americans in New York.
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De, Wagter Caroline. "Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.
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A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.<p><p>Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation. <p><br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished
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Purtscher, Lina. "An American Myth in the (Re)Making: The Timeless Fantasy Appeal of 'The King and I'." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1151.
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It is now well-known that The King and I has little claim to truth. Recent research has exposed the inaccuracy of the “biographical” works on which the musical is based: Anna Leonowens invented many things about her personal background and experiences. Much of her life, then, is a contrived fantasy. Yet her life of fantasy has been resurrected in countless adaptations, including the 1951 Rodgers and Hammerstein musical and its 2015 revival production, that ceaselessly draw audiences. The fascination of American audiences with Anna’s tale lies their belief in the timeless American ideals that her fantasy employs: those of freedom and equality, which undergird such myths as American exceptionalism and American multiculturalism. The appeal of this cultural fantasy is illuminated by examining the history of the Cold War era in which The King and I was created, as well as the politics of President Trump that define recent years and influence the creation and reception of the revival show (and its 2016-2018 national tour). America today is occupied by the same conflicting desires for integration/internationalism and isolationism of bygone times; today, the idea of a superior America is still upheld by a fear of the Other. Examining how the visual elements, songs, and performances of the original and revival musicals both reinforce and undermine the fantasy of cultural superiority will reveal how Americans continue to fall under the spell of fantasy, and how a connection to the past sheds light on what it means to be an American today.
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Speight, Dana T. Ms. "Transforming the Mundane: Juxtaposing Maria Friedman’s "High Society" with George Cukor’s "The Philadelphia Story" as an Emphasis on the Importance of Theatre." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/352.
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The subjects of film and theatre belong to an extensive hierarchical debate that has remained prominent within the realm of performing arts since the introduction of cinema in the late nineteenth century. A plethora of scholars choose to argue in favor of the former, suggesting that film surpasses theatre as superior in both aesthetics and overall execution of naturalism; however, the argument is purely subjective and cannot be applied to all films and their corresponding plays. As a counterclaim, theatre continues to thrive as a prominent source of artistic entertainment globally, not only offering a contemporary twist to preexisting texts, but also impacting an audience in methods that film will never be able to do so. Maria Friedman’s High Society is a primary example that reaffirms how theatre can triumph the continual debate when compared to its preceding film – The Philadelphia Story – directed by George Cukor, both artistically and through its overall execution of the profound topics represented within the original text. This thesis will primarily juxtapose Cukor’s iconic film with Friedman’s revival of the former that was performed in 2015 at London’s Old Vic theatre, offering an innovative rebuttal to the preexisting debate as well as to affirm the argument of how theatre compellingly transforms the mundane.
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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.
Full textBooks on the topic "North-american theatre"
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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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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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Michael, Lomatuway'ma, ed. Children of cottonwood: Piety and ceremonialism in Hopi Indian puppetry. University of Nebraska Press, 1987.
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Office, General Accounting. Financial management: Theater Missile Defense Cooperation account. The Office, 1995.
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Orenstein, Claudia, and James Peck, eds. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781350045521.
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This volume focuses on three artists who embrace media and technology as essential elements of their theatrical expression: Elizabeth LeCompte, Ping Chong, and Robert Lepage. Diverse in their aesthetic interests, they nevertheless share an approach to directing that includes technological media on stage as central to a rigorously crafted production concept. Technological elements live alongside and negotiate with the theatre’s human players, disclosing, shaping, and even intruding on the dramas they enact. The essays in this volume explore how all three directors have provided decisive responses to a question that has dogged the theatre for at least the last century: what relationship can theatre, an art form grounded in live, ephemeral, expression, have to technology? The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
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Peck, James, ed. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781350045606.
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The three directors gathered in this volume all approach theatre-making in part as an act of citizenship. Jesusa Rodríguez, Peter Sellars, and Reza Abdoh differ markedly in many important respects, but they all come to the theatre as an intervention in the public sphere. Rodríguez, Sellars, and Abdoh blend a spirit of social critique with acts of democratic community building. These essays examine how theatre, for them, is not a sphere of aesthetic experience insulated from the divisions, antagonisms, and alliances of a conflicted society. It is a way to forge fleeting but consequential communities that might reverberate through that society and affect its future development. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
Book chapters on the topic "North-american theatre"
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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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Richards, Eric. "The North American theatre." In The genesis of international mass migration. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526131485.003.0006.
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North America was the earliest and the greatest theatre of oceanic emigration in which the methods of mass migration were pioneered. The European re-peopling of America stretched over four centuries from the earliest years of the seventeenth century but for the first 200 years it was dominated by emigrants from the British Isles. Emigration was fundamentally an expression of demographic conditions which had shifted decisively over the time span. The pursuit of a general view of the emigrational relationship between the two sides of the Atlantic is strewn with difficulties of interpretation. Indenture systems had been widespread in the recruitment of eighteenth-century emigrant. Indenturing through the seventeenth and eighteenth centuries was the primary vehicle of British and Rhineland emigration to North America. The ending of indenturing was essentially connected to the great change in the supply and demand circumstances underlying the evolving emigration systems.
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Richards, Eric. "The North American theatre." In The genesis of international mass migration. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526131492.00011.
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McAlinden, M. Govan, Bossom A. Masri, and Clive P. Duncan. "Management of the infected total hip arthroplasty: o North American perspective." In Controversies in hip surgery. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780192631619.003.0012.
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Abstract Total hip arthroplasty (THA) is recognized as one of the great successes of orthopaedic surgery. However, when infection occurs, it remains one of the most devastating complications of this operation. Despite early reports of an unacceptably high infection rate (nine out of 109 patients (9 per cent)),’ use of modern prophylactic measures, which may include prophylactic antibiotics, laminar-flow ventilation systems in the operating theatre, and all-enclosing exhaust suits, has led to a fall in the rate of infection after primary THA to less than r.5 per cent in series from specialist centres and state registries.
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Mills, Dorothy Seymour, and Harold Seymour. "A Long, Rough Road Still to Travel." In Baseball. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195038903.003.0036.
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Abstract The so-called Progressive Era meant little or nothing to American Negroes. in the South Jim Crow legal segregation assured them of hardscrabble lives. The most uncouth, low-lived white ranked above any black. in the North Jim’s cousin James Crow confined blacks to a cramped and stunted existence. The legal segregation of the South and the customary discrimination of the North applied to all aspects of Afro-American life: housing, employment, travel, entertainment, and even burial. Blacks were restricted to certain theatre seats even in Harlem. Baseball parks introduced their own quixotic regulations. For instance, they assigned blacks separate ticket windows, entrances, seating sections, and exits in southern ball parks. in Atlanta, according to John A. Lucas and Ronald A. Smith, amateur baseball teams of different races could not even play within two blocks of each other.
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Saxon, Theresa. "Ira Aldridge in the North of England: Provincial Theatre and the Politics of Abolition." In Britain's Black Past. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621600.003.0016.
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African American actor Ira Aldridge, who toured widely across Britain, Scotland, Ireland, and Europe and is the first known black performer to play Othello in England, is the focus of this chapter by Theresa Saxon. She focuses on the critical reception of his work in London and in provincial theatres in the North West and how newspaper reviews of his performances reflected regional attitudes toward racial identities and debates about enslavement. Saxon describes how theatres, in addition to the Church and the press, were one of the central loci of the dramatization of arguments over the slave trade and abolition of slavery. Aldridge’s reviews in London papers, where his characters were almost always enslaved, were largely racist and even his defenders’ reviews were through the lens of race. In contrast, his reception in the regional patent theatres of Manchester, Liverpool and Lancaster, centers of abolitionist activity, were typically positive and lauded. Although there does not seem to have been direct association between Aldridge and abolitionist figures, much of the critical praise he received smacked with the rhetoric of abolitionism as it focused on his skill and intellect to illustrate the wrongs of pro-slavery arguments of racial hierarchies.
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Prior, Robin. "The End in Africa." In Conquer We Must. Yale University Press, 2022. http://dx.doi.org/10.12987/yale/9780300233407.003.0020.
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This chapter explores the difficulty of settling on an area of operations with an ally, referencing the development of an Allied plan. It also notes the appointment of Dwight Eisenhower as the Supreme Commander of the Torch landings. The North African landings took place on November 1942 after a logistical and organisational triumph which saw men delivered from the United States and various parts of Britain to three main landing areas simultaneously. The outcome triggered tension between the theatre commander Eisenhower and Winston Churchill. The chapter details the Tunisian campaign wherein Churchill felt constrained making usually detailed interventions in an American operation.
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Favors, Jelani M. "Race Women." In Shelter in a Time of Storm. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469648330.003.0004.
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This chapter examines the fascinating history of Bennett College – one of only two single sex colleges dedicated to educating African American women. Although Bennett would not make that transition until 1926, the institution played a vital role in educating African American women in Greensboro, North Carolina from the betrayal of the Nadir to the promises of a New Negro Era. The latter period witnessed Bennett, under the leadership of David Dallas Jones, mold scores of young girls into politically conscious race women who were encouraged to resist Jim Crow policies and reject the false principals of white supremacy. Their politicization led to a massive boycott of a theatre in downtown Greensboro and helped to set the tone for Greensboro’s evolution into a critical launching point for the modern civil rights movement.
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"Performance." In Fractal Repair. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059233-005.
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This chapter focuses on the National Dance Theatre Company (NDTC), which became a prominent cultural ambassador for Jamaica after its founding in 1962, the year of the island’s independence. In response to the debasement of Caribbean cultural practices that contravened racialized colonial codes of gender and sexual propriety, the NDTC sought to create a distinctively Jamaican and Caribbean dance form. This chapter closely analyzes NDTC’s early performances and their reception on the island, within the Caribbean region, and across the North Atlantic. It argues that the company’s performances and how they were interpreted highlight the pervasive but covert way that same-gender intimacy and gender expansiveness across class and color lines were foundational to how Jamaicans understood themselves in the wake of independence. This narrative unsettles existing accounts of this period in Jamaica that emphasize the twinning of overpopulation and development discourses in the promotion of Euro-American forms of kinship.