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Journal articles on the topic 'North-american theatre'
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1
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.
9
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!
11
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.
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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.
13
Reeve, William C. "Büchner's Woyzeck on the English-Canadian Stage." Theatre Research in Canada 8, no. 2 (1987): 169–81. http://dx.doi.org/10.3138/tric.8.2.169.
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This article examines the various English-Canadian productions and adaptations of Georg Büchner's incomplete drama Woyzeck , beginning with George Luscombe's North-American premiere in 1963 and ending with Will H. Rockett's recent version (April 1987). In addition an attempt is made to put these stagings into the broader context of the European theatre.
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Cohen, Matthew Isaac. "Indonesian Theatre: New North American Scholarship on Modern and Traditional Performance Practices." Theatre Journal 65, no. 1 (2013): 127–35. http://dx.doi.org/10.1353/tj.2013.0005.
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Chansky, Dorothy. "North American Passion Plays: “The Greatest Story Ever Told” in the New Millenium." TDR/The Drama Review 50, no. 4 (2006): 120–45. http://dx.doi.org/10.1162/dram.2006.50.4.120.
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North American outdoor passion plays are not marginal theatrical sites; focusing critical attention on these faith-based dramas is particularly urgent in the context of the rise of religiosity in U.S. politics. The amateur evangelical shows offer troubling representations of Jews, racial exclusivity, and implicit assumptions of authenticity; yet, as community theatre endeavors, they hold forth possibilities for innovative iconography.
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Urban, Mateusz. "Franklin D. Roosevelt and the American Theatre Standard: The low vowels." Studia Linguistica Universitatis Iagellonicae Cracoviensis 138, no. 4 (2021): 227–45. http://dx.doi.org/10.4467/20834624sl.21.018.14861.
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Franklin D. Roosevelt’s accent is often used as an illustration of the elite pronunciation heard among the north-eastern US upper classes until roughly the mid 20th century. Known under several names and often considered a mixture of British and American features, this variety is frequently identified with the American Theatre Standard, a norm popularized by acting schools in the early 20th century. Working on the assumption that Roosevelt is an exemplar of the north-eastern standard, the aim of the current study is a preliminary acoustic exploration of his accent with the aim of assessing the plausibility of such comparisons, focusing on the dress, trap, bath, start and lot vowels. Density plots created based on F1 and F2 measured in eight radio speeches were used to examine the relative position of these vowels in the vowel space. Linear mixed-effects regression was then used to model F1 and F2 in selected pairs of vowels to determine whether the differences along the two formant dimensions are significant. The results confirm a conclusion reached in an earlier auditory study (Brandenburg, Braden 1952) according to which Roosevelt’s bath was variable between [æ] and a lower and retracted [a], a vowel quality found in Eastern New England and in American Theatre Pronunciation. At the same time, a merged start/lot vowel in Roosevelt’s speech makes it unjustified to fully identify his accent with the latter variety.
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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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Roxworthy, Emily. "Frankenmom: Theatre as History in Deconstructing American Celebrity Motherhood." Theatre Survey 57, no. 1 (2015): 63–87. http://dx.doi.org/10.1017/s0040557415000563.
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When Paper magazine attempted in 2014 to “break the Internet” (as its cover declared) by publishing French artist Jean-Paul Goude's photos of reality star Kim Kardashian brazenly displaying her infamous derriere, the public reprimands to Kardashian from fellow celebrities quickly zeroed in on an even more essentializing aspect of her identity. As actress Naya Rivera posted, “You're someone's mother.” Singer Lorde articulated Kardashian's transgression even more simply, retweeting the photos along with a single word that served as a hex: “mom.” The judgment of her female peers seemed to be that Kardashian, who gave birth to daughter North West in June 2013, should have known better than to flaunt her sexuality on the public stage now that she was a mother. Meanwhile, in a related realm, an American celebrity tabloid such as Us Weekly can generate annual advertising revenues of $403 million (that magazine's 2013 figure) with a profit model based on spectacularizing celebrity mothers and appraising their so-called “baby bumps.” Former US Weekly editor-in-chief Janice Min coined the term “Frankenmom” in a now-notorious 2012 New York Times article about the pressure she felt to regain her pre-pregnancy body after the birth of her third child. In that article, she paid penance for “our ideal of this near-emaciated, sexy and well-dressed Frankenmom” that she had helped create through celebrity journalism. (Kardashian's decision to pose nude in Paper was later explained by celebrity outlet TMZ as a gesture “to show the world how she bounced back after giving birth to North West.”) Despite the personal pressure she experienced as a mother, Min boasted that because of her magazine's focus on maternal bodies during her time as editor (2003–9), American novelist “Tom Wolfe once remarked, ‘the one thing that Us Weekly has done that's a great boost to the nation is, they've probably increased the birthrate.’”
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Moss, Jane. "Québécois Theatre: Michel Tremblay and Marie Laberge." Theatre Research International 21, no. 3 (1996): 196–207. http://dx.doi.org/10.1017/s0307883300015315.
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The French colonists (‘habitants’) who began settling Canada in the early seventeenth century brought with them the French language, the Catholic religion, and French cultural traditions. These basic elements of ‘le patrimoine’ continued to evolve in the North American context after France abandoned the colony in 1760. Under the influence of a conservative political establishment and the Catholic Church for two centuries, French Canadians perceived themselves as an isolated minority whose duty was to preserve their language, religion, culture, and agrarian traditions. A collective identity crisis during the 1960s led to the conclusion that the old social, educational, and religious institutions had failed to keep up with the forces of modernization, industrialization, and urbanization which had transformed the province. During the period known as the ‘Révolution tranquille’, political reforms gave Quebec greater autonomy within the Canadian confederation, economic reforms improved material conditions, and educational reforms began preparing future generations for productive careers. Rejecting the term ‘Canadien français’ because it connoted colonial status, Quebec intellectuals adopted the term ‘Québécois’ and called for the creation of a national literature, independent from its French roots and its Anglo-American connections. This distinctive Québécois literature would reflect the reality of their lives and speak to them in the language of Quebec.
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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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Astwood, Laura. "The Private Becoming Public." Canadian Theatre Review 104 (September 2000): 29–32. http://dx.doi.org/10.3138/ctr.104.005.
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A Woman I Know … (Una Donna Che Conosco …) is a two-hander written and performed by Alessandra di Castri, an Italian from Naples, and Laura Astwood, a Canadian from Toronto. The piece is bilingual in Italian and English, directed by Richard Fowler. Astwood, di Castri and Fowler met in the context of Primus Theatre; Fowler was the artistic director of Primus throughout its existence from 1989 to 1998, and di Castri and Astwood joined the company as apprentices in 1995. Una Donna was begun in Winnipeg and completed in Nocelle, Italy. It has been performed in Nocelle, in Naples as part of the Marzo Donna Festival and in Positano and Torella dei Lombardi in association with the Scuola di Memoria delle Donne. It will be performed in August 2000 in Highland Lake, NY, at the First Ever Catskills Experimental Theatre Festival, hosted by the North American Cultural Laboratory, and subsequently on tour across Canada, at Simon Fraser University in Vancouver, Prairie Theatre Exchange in Winnipeg, Theatre PEI in Charlottetown and various points in between.
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Kruger, Loren. "Theatre and Capital Once Again: An Essay on an Informal Archive." Theatre Journal 75, no. 4 (2023): 389–97. http://dx.doi.org/10.1353/tj.2023.a922210.
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Abstract: This essay reviews Theatre Journal articles that examine the intersections of theatre and capital, to highlight the challenge of analyzing neoliberal transformations of global and glocal economies, in particular, the trend to financial speculation to the detriment of investment in public resources, and the impact on theatre and performance. Commentators in the “global” North can better understand the scale of transformation—the concentration of wealth for a few and the loss of public revenue for the precarious majority—by examining strategies deployed by this majority in the South, especially Africa, to deal with extreme inequality exacerbated since the 1990s by structural adjustment and reduced aid from the North. The essay briefly notes a critical response to the impact of capital on performance by an African scholar, and a performative illumination of its US impact by an American practitioner. In the first case, David Donkor’s Spiders of the Market analyzes the glocal pressure of financialization on social welfare and performative practices in Ghana while offering critical insights that apply to increasing inequality in the North. In the second, Paul Durica and Pocket Guide to Hell’s site-responsive reenactments illuminate historic conflicts between U.S. capital and labor from the 1886-7 Haymarket Trial to the 2011 Occupy Movement and attempt to clarify the obscure workings of capital as an economic and cultural force in contemporary Chicago, whose nineteenth-century markets were the first to develop derivatives and other instruments that have spawned financial speculation to the present time.
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Bartscherer, Thomas. "“Make Thee an Ark”: On the North American Cultural Laboratory, Theatre and National Identities." Canadian Theatre Review 125 (January 2006): 16–21. http://dx.doi.org/10.3138/ctr.125.003.
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To christen a theatre company the North American Cultural Laboratory (hereafter, NACL) is to locate it in a specific, albeit large, geographical space and, at the same time, to take an ambivalent stance toward national identity. NACL was founded in 1997 by Canadian Tannis Kowalchuk and American Brad Krumholz. The name neither aligns the company with one or the other nation nor simply ignores questions of national origin. Rather, by designating a geographical space that encompasses more than one sovereign state, the name “NACL” announces the organization’s ambition to reach across international borders.1 The name also indicates this New York—based laboratory’s links to such organizations as the late Jerzy Grotowski’s Teatr Laboratorium in Poland and Eugenio Barba’s Nordisk Teaterlaboratorium in Denmark. In respect of national identity, then, NACL has been shaped by three distinct forces, two emanating from the national origins of the founders and a third that is, in essence, supranational as a matter both of fact and principle. This essay examines the interplay of these forces as manifest in NACL’s history, artistic work and institutional life.
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Bustamante, Fernando, and (tradução) Gustavo Godoy. "Tennessee Williams and Erwin Piscator: influences, divergences and the Dramatic Workshop collaboration." Dramaturgia em foco 8, no. 2 (2024): 25–41. https://doi.org/10.5281/zenodo.13740839.
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In the early 1940s, Tennessee Williams had a learning and working experience at the Dramatic Workshop, a theatre school directed by the political theatre exponent Erwin Piscator in New York. This article intends to briefly explore the relationship and debates between the two artists and, by analyzing the dropped staging project for the <em>Battle of angels </em>in the Dramatic Workshop’s Studio Theatre and the stylistic procedures originated in the epic theatre used in <em>The glass menagerie</em>, reflect on the influences of Piscator’s theatrical thinking and practice on William’s work, as well as how those were appropriated and reshaped by him.
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Wade, Cameron. "#UsToo: A Musical Comedy about Sexual Assault and Harassment." Drama Therapy Review 6, no. 2 (2020): 129–48. http://dx.doi.org/10.1386/dtr_00024_1.
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#UsToo debuted at the 39th Annual Conference of the North American Drama Therapy Association. It was written and performed by the author as an autoethnographic therapeutic theatre performance investigating her experiences with sexual assault and harassment perpetrated by members of the drama therapy community. This article includes an annotated version of the script with a discussion on form, content, aesthetic choices and embodiment. This article concludes with a synthesis of authorial learnings and outcomes throughout the devising, rehearsal and performance processes.
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DHARWADKER, APARNA. "Diaspora and the Theatre of the Nation." Theatre Research International 28, no. 3 (2003): 303–25. http://dx.doi.org/10.1017/s0307883303001159.
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Among the cultural forms of the Indian diaspora in the West, the radical obscurity of drama and theatre in comparison with fiction, non-fiction, and poetry suggests a complicated relation between genre, location, language, and experience. As a collaborative public medium theatre depends on material resources, institutional networks, and specific cultural contexts which place it at several removes from the privacy and relative self-sufficiency of print genres. Moreover, while novelists often employ diaspora as the enabling condition but not the subject of narrative, immigrant playwrights can create original theatre only when they distance themselves from their cultures of origin and embrace the experience of residence in the host culture, with all its attendant problems of acculturation and identity. In Canada, where the Indian immigrant communities are older, often visibly underprivileged, and entangled in post/colonial histories, an emergent culture of original playwriting and performance has offered a critique of the home-nation as well as of conditions in the diaspora. In the United States, in contrast, where large-scale immigration from India is relatively recent, socially privileged, and unencumbered by colonial baggage, original drama is virtually absent, and various forms of ‘travelling’ theatre dominate the culture of performance, reinforcing a powerful synonymy between ‘diaspora’ and ‘nation’. These two North American locations are paradigmatic examples, therefore, of the historically grounded interconnections between diaspora, nation, and theatre in the modern Indian context.
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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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Greig, David. "‘I Let the Language Lead the Dance’: Politics, Musicality, and Voyeurism." New Theatre Quarterly 27, no. 1 (2011): 3–13. http://dx.doi.org/10.1017/s0266464x11000017.
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David Greig is one of Britain's most versatile and exciting playwrights, whose awardwinning work – commissioned by, among others, Suspect Culture, the Royal Shakespeare Company, the National Theatre of Scotland, the Edinburgh International Festival, and the Traverse Theatre – has been performed all over the world. His personal voice is characterized by the sensitive musicality of his text, an individual sense of humour, and an acute awareness of the world around us. Whether his protagonists are Cambridge ornithologists, Scottish lords, or American pilots, Greig creates works of extreme visual beauty and emotional directness in lyrical soundscapes. In the interview which follows, completed in June 2010, he discusses the themes of politics and national identities; language, music, and experimental forms; directors, directing, and adaptations; and watching bodies on stage. Greig believes that theatre is a form of voyeurism, ‘a consensual exchange’ to ‘look at people and watch how they behave’. In his work, the act of watching thus acquires a new role surpassing the simple function of pleasure, and enabling the viewer to engage further with the theatre's mediation to comment, justify, explain, and promote a better understanding of the complexities of human nature – voyeurism in theatre being re-read as a new freedom of the gaze, and its fetishistic attributes re-evaluated as an emancipation of restrained energy, testing the boundaries of taboo. George Rodosthenous is Lecturer in Music Theatre at the School of Performance and Cultural Industries of the University of Leeds. He is Artistic Director of the Altitude North theatre company, and also works as a freelance composer for the theatre. He is currently working on the book Theatre as Voyeurism: the Pleasure(s) of Watching.
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Féral, Josette. "‘The Artwork Judges Them’: the Theatre Critic in a Changing Landscape." New Theatre Quarterly 16, no. 4 (2000): 307–14. http://dx.doi.org/10.1017/s0266464x00014056.
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The functions of the critic in the theatre and of his or her responsibilities towards the theatre have long been debated and disputed, and are now in a state both of flux and contradiction – flux, because of the rapidly changing state of the media in which criticism is published and the new forms which ‘publication’ can now take; contradiction, because of the dual perception of criticism as at once an ‘offensive’ art and an ‘art of solidarity’. Especially for the critic of theatre, the dilemma has always been heightened not only by the ephemerality of the art to which the review gives a vicarious and subjectified after-life, but also by the shifting sands between the journalistic and the academic landmarks of the craft. Rather than attempting impossible solutions, Josette Féral offers illuminating definitions and suggests helpful boundaries – aesthetic, cultural, social, and historical. Josette Féral is full professor in the Drama Department of the Université du Québec à Montréal. She has published several books, including Mise en scène et jeu de I'acteur, (two volumes, 1997, 1999), dealing with many European as well as North American directors, Rencontres avec Ariane Mnouchkine (1995) and Trajectoires du Soleil (1999), both on Mnouchkine's work, and La Culture contre I'art: essai d'économie politique du théâtre (1990). She has also published several articles on the theory of theatre in Canada, the United States and Europe, in journals such as The Drama Review, Modern Drama, The French Review, Discourse, Theaterschrift, Cahiers de théâtre, and Théâtre Public. She is currently President of the International Federation for Theatre Research.
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Allan, Katherine. "Columbus and the Neutral Mask." Canadian Theatre Review 71 (June 1992): 20–25. http://dx.doi.org/10.3138/ctr.71.003.
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Clowning in Canada, and especially in Toronto, is presenting an increasingly exciting challenge to the North American tradition of banal figures with red noses or the equally innocuous image of the sentimental and powerless Pierrot. Instead, audiences are presented with wild and zany characters who break theatrical conventions and demand active critical consideration of what is taking place on stage. Much of this clowning has been influenced by training at L’Ecole Jaques Lecoq, including training in the concept of the neutral mask, and it is perhaps useful to examine, in the work of one important clown company, Toronto’s Theatre Columbus, the ways in which this training shapes their productions.
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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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Recchio, Thomas. "Embodied Scholarship: A Performance History of William Richard Waldron’s Lizzie Leigh; or, The Murder Near the Old Mill (1863)." Nineteenth Century Theatre and Film 47, no. 1 (2019): 43–67. http://dx.doi.org/10.1177/1748372719853234.
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Through a reflective account of the process by which William Richard Waldron’s Lizzie Leigh was staged by the Theatre Caucus at the 2018 North American Victorian Studies Association conference held in St Petersburg, Florida, I hope to present a picture of what it might mean to figure scholarship as an act of embodiment through performance as both a stimulus for and a mode of inquiry. Towards that end, I offer a process narrative that tracks the selection, editing, infrastructure planning, rehearsal, and performance of the play in an effort to capture the intentional, inadvertent, and retrospective avenues of inquiry that emerged through that process, with an emphasis on tracking as fully as possible the performance history of the play, of which the North American Victorian Studies Association performance became a part. In addition to documenting the performance history of the play in Victorian Britain, I will also document the career of the play’s author in relation to the changes in decade and in venue of performances of the play in order to suggest the appeal and staying power of an under-valued piece of Victorian theatrical culture that still can speak to audiences today.
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Hurley, Erin. "Canadian Theatre in New York City: Two Case Studies." Canadian Theatre Review 105 (January 2001): 10–15. http://dx.doi.org/10.3138/ctr.105.002.
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New York is awash in Canadian citizens, cultural events and consulates. Two consular bodies and five Canadian organizations serve the upwards of 100,000 Canadians living in the Tri-State area (New York, New Jersey and Connecticut). Each consulate has a cultural development program and boasts a publication announcing upcoming Canadian cultural events in New York.2 Moreover, mediatized images of Canada have successfully permeated New York’s popular consciousness. In fashion, American designer Isaac Mizrahi documented his 1994 fall fashion-homage to Nanook of the North in the film Unzipped. In music, two of America’s favourite “divas” are Canadian Céline Dion and Shania Twain formed the core of VH-1’s runaway success, Divas Live. In film, Mike Myers’s enormous popularity rests in part on Saturday Night Live’s “Wayne” and “Garth,” two heavy-metal fans from Scarborough. Atom Egoyan’s The Sweet Hereafter (1998) garnered an Academy Award nomination. Female lead Sarah Polley was one of Vanity Fair’s up-and-coming actors in April 1999. The most visible media images of Canada are Molson’s “Joe Canadian” series of television advertisements (premiered in March 2000) and Matt Stone and Trey Parker’s movie musical satire, South Park: Bigger, Longer and Uncut (released in June 1999). Pop culture iterations of Canada seem to be everywhere.
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Peters, Helen. "Towards Canadian Postmodernism." Canadian Theatre Review 76 (September 1993): 13–17. http://dx.doi.org/10.3138/ctr.76.003.
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Canadians today recognize ourselves as descendants of French and English colonists, immigrants, and North American Aboriginal peoples. We are becoming more aware of complex issues in the history of our country and increasingly sensitive to the interrelationship between the Aboriginal population and European settlers from the earliest stages of colonization through the process of achieving nationhood. In Canada as in other countries of colony-based origins, colonization furthered the interests of the colonizer, not the native, and subsequent historical development has paid little attention to redressing political, social, or economic imbalances. We are all still becoming aware of our legacy and future as Canadians. Theatre critics and analysts in Canada, like colleagues in other former colonial countries, are studying the recent development in theatre and theatre studies and the influence of funding and other policies of recent governments to promote Canadian theatre and culture in the latter part of this century.1 Effects of government policies have been both positive and negative; a positive effect which interests me here is the increasing capability that enables Aboriginal peoples to express themselves theatrically. A major result of this capability has been the appearance of theatre written and performed by Aboriginal people and another result has been the disappearance of European representation of Aboriginal people in “white” productions, even in established works such as Shakespeare’s The Tempest which is being restaged so that the play’s basic imperialist assumptions can be called into question.2 This change is effected by replacing the generic savage with Aboriginal people who have “a local habitation and a name” and by relocating the play from a vague unidentified protrusion of land in a Prospero-controlled sea to an identifiable period and a recognizable island.
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Blaga, Raluca. "Perioada nord-americană." Cercetări teatrale 4, no. 2 (2024): 63–92. http://dx.doi.org/10.46522/ct.2023.02.04.
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The purpose of this article is to bring to the forefront the theatrical activity carried out for eight years by Theodor-Cristian Popescu in the North American cultural landscape. Following the path of the Romanian theatre director, the article presents the performances he directed during his master’s degree at the University of Montana and also the theatrical events he staged in Montréal and Toronto, once he moved to Canada. Drawing on a variety of sources (press articles – reviews, interviews, press releases –, as well as program booklets, grant applications or evaluations of his teaching activity), the article aims to provide the Romanian public with a detailed presentation of Theodor-Cristian Popescu’s theatrical activity abroad (theatrical animator, director, teacher).
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Graham, Catherine. "Views & Reviews." Canadian Theatre Review 110 (March 2002): 88. http://dx.doi.org/10.3138/ctr.110.019.
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In this issue, three different contributors discuss how our perceptions of theatre and of the world are governed by the organization of bodies in space, whether geographic, scenographic or imaginary. Guy Sprung opens with an interesting overview of his company’s experience as the only North American company from north of the Mexican border participating in the Cairo International Festival for Experimental Theatre in early September of this year. Through his discussion of his initial impressions of Cairo, of the organization of the festival and of the plays presented by some of the Arab companies present, Sprung makes it clear that a shift in geographical space cannot help but make one question the dominant perspectives of one’s own society. In contrast, he also notes how recent colonial history inflects the performance choices of many of the companies present; an interesting observation that might include his own choice to produce Beckett’s Fin de Partie/Endgame as the only Canadian entry in the Festival. In the end however, the question of control of space in the turbulent Middle East and its effects on everyday life in the region are foremost in his mind as he finds himself watching CNN coverage of the events of 11 September in an Arab cafe, where most of his fellow observers consider the Arab world, and not New York, to be the centre of their cultural space and cultural history.
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Wood, Gerald C. "Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper." Theatre Survey 45, no. 2 (2004): 286–88. http://dx.doi.org/10.1017/s0040557404240261.
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Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.
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Andriessen, Samuel. "The Battle of the Atlantic: The environmental front of World War II." International Journal of Maritime History 31, no. 4 (2019): 814–25. http://dx.doi.org/10.1177/0843871419878943.
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This article examines the potential environmental impact in one specific theatre of World War II during a specific time frame. The study begins with an examination of the major oil spills that occurred after the 1960s to place them in a relationship with the cumulative effects of smaller spills, which best describe the numerous individual spills during 1942. It provides historical detail into the German offensive against North American shipping to establish a general scale of the resulting oil spills. Finally, it will describe the environmental impacts and assess current efforts to mitigate risks of continued oil exposure from shipwrecks in sensitive marine ecosystems. This establishes the theoretical framework to answer, at least in part, the question of whether a rapid succession of small spills would cause as much damage as large spills.
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Burt, Philippa. "From the Western Front to the East Coast: Barker's The Trojan Women in the USA." New Theatre Quarterly 34, no. 4 (2018): 326–38. http://dx.doi.org/10.1017/s0266464x18000404.
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When Harley Granville Barker was invited to stage a theatre season in New York following the outbreak of the First World War, senior figures within British politics seized on it as an opportunity to promote the British war effort in the United States. It was, however, Barker's impromptu decision to extend his stay and tour Euripides’ The Trojan Women to major colleges on the East Coast that saw him come close to realizing this goal. Through an examination of the production, the discourse that surrounded it, and the changing diplomatic relations between Britain and the USA, Philippa Burt explores in this article the extent to which Barker used Euripides as a propaganda tool through which to engage and educate the largely isolationist North American public. At the same time, she argues that Barker challenged the propaganda machine by refusing to perpetuate the dominant nationalistic and xenophobic narratives and, instead, intended a condemnation of all war. Philippa Burt is a lecturer in the Department of Theatre and Performance at Goldsmiths, University of London. Her previous publications include numerous articles and a chapter on Barker's work with choruses in the forthcoming The Great European Stage Directors, Vol. 4: Reinhardt, Jessner, Barker (Bloomsbury Methuen).
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Nicholson, Helen. "Henry Irving and the Staging of Spiritualism." New Theatre Quarterly 16, no. 3 (2000): 278–87. http://dx.doi.org/10.1017/s0266464x00013907.
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Spiritualism enjoys an equivocal reputation not unlike that of wrestling – for whatever their intrinsic qualities, both benefit greatly from the trappings of showmanship. Supposed spiritualist mediums first manifested themselves during the Victorian era, which seems to have been highly susceptible to such fraudsters as the American Davenport brothers – whose touring ‘seances’ were, however, greeted with rather more scepticism in the North of England than in London. While audiences seemed to enjoy the way in which such demonstrations of spiritual possession were presented in a manner resembling a professional conjuring act, professional conjurers were properly offended by such presumption. So, too, was the young Henry Irving, who, with two companions, took up a challenge in The Era, the newspaper of the variety profession, to emulate the mystical achievements of the Davenports. The following paper, which was originally presented in July 1995 at the Theatre Museum as part of the celebrations of the centenary of Irving's knighthood, traces the rise and development of the spiritualist craze, and illuminates this previously obscure aspect of Irving's career. Helen Nicholson is currently completing her PhD on the life of the Victorian actress and singer Georgina Weldon, before taking up an appointment as a drama lecturer in the English Department at Manchester Metropolitan University. She has published articles on Georgina Weldon in Occasional Papers on Women and Theatre, on the Victorian supernatural, and on Victorian fairies in History Workshop Journal.
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Arteel, Inge. "Adaptation as cultural and medial transfer: George Tabori’s short story and radio play Weissmann und Rotgesicht." Journal of Adaptation in Film & Performance 17, no. 2 (2024): 149–62. http://dx.doi.org/10.1386/jafp_00116_1.
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George Tabori (1914–2007), a Hungarian-born British playwright of Jewish decent, is closely associated with German Holocaust theatre. Less well-known is his prolific career in German radio drama. This contribution traces the trajectory of Tabori’s short story ‘Weissmann und Rotgesicht’ and its adaptation for German radio in 1978. The overall theme of its narrative can be identified as the issue of competing minoritized groups (Jews and Indigenous Americans), their respective identity politics and mechanisms of ‘othering’. My analysis first asks how the short story presents these questions, as it was written in a North American context primarily shaped by the popular cultural format of the western movie. Secondly, I ask how the topic is culturally and medially transferred to the radio play form, considering the production’s West German context of the late 1970s. My interest is guided by the question whether and how we can read this 1978 radio play as an intervention in the debate on the representation of the ‘Indian’ in popular German culture and its simultaneous erasure, several decades after the Holocaust, of the Jew.
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Sahar, Naila. "Muslim Women’s Activism in the USA: Politics of Diverse Resistance Strategies." Religions 13, no. 11 (2022): 1023. http://dx.doi.org/10.3390/rel13111023.
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This paper will explore ways in which dynamics of visibility/invisibility of American Muslim women activists are transformed in secular places like USA, while these women struggle surviving on the borderlands. Borderland and boundary are perceived as lived spaces that are culturally hybrid and are seen as a theatre for radical action. In this paper I contend that Muslim women activists in the USA operate from geographies of borderland and while inhabiting this hybrid third space they generate discourses of dissent that challenge stereotypes about them. Hailing from diverse backgrounds and countries, with different cultural roots yet same belief system and faith, American Muslim women activists adapt varied resistance strategies to challenge the Muslim patriarchy and the western hegemony that has persisted to portray Muslim women as an oppressed group of people in need of saving. Tracing Muslim women activists’ emotional and experiential geographies I will look at ways in which dynamics of solidarity between them have moved beyond dichotomous divisions of global-local, global North-global South, and empire-colony. With the discussion of lives and activism of Amina Wadud, Linda Sarsour and Asra Nomani, this paper will contextualize these activists within the spaces of resistance which they inhabit, while navigating their challenges in the context of geopolitical tensions and conflicts which are their lived realities in the USA.
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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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Meera, Suhaila. "(Not So) Minor Encounters: Little Amal from The Jungle to The Walk." Theatre Journal 75, no. 3 (2023): 321–40. http://dx.doi.org/10.1353/tj.2023.a917481.
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Abstract: How do we comprehend the scale of contemporary Syrian child displacement, much less represent it theatrically—and ethically? In this essay, I explore how the Good Chance Theatre has continued to try, through the evolving figure of Little Amal, an unaccompanied Syrian girl who appears in two transnational performances, The Jungle (2017) and The Walk (2021). Drawing on interviews with directors, actors, and puppeteers, I argue that both productions renegotiate the adoptive gaze Western European and North American audiences usually impose upon Syrian refugee children. The eight locally cast child actors that played Little Amal across The Jungle ’s original tour produced a Brechtian doubling of performances that complicated violent spectatorial relations, while The Walk ’s twelve-foot-tall puppet of Little Amal resists adoptive logics’ reliance on humanitarian tropes of liminality and minority. Complicating hegemonic binaries of insider/outsider, seeing/being seen, and even life/death, The Jungle and The Walk invite Euro-American onlookers to reconsider their relation to the refugee ‘crisis,’ undercut the individual logic of adoption, and call for a collective response. Little Amal’s (not so) minor encounters, I find, lay bare the inherent theatricality of the current refugee rights paradigm as applied to displaced peoples of all ages. Reclaiming the figurative and embodied potential of the Syrian child refugee, Amal reveals mass displacement to be a shared human phenomenon: already lived by so many, and looming for all.
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Fisher, James. "Mary M. Turner Forgotten Leading Ladies of the American Theatre Jefferson, North Carolina; London: McFarland, 1990. 170 p. £23.70. ISBN 0-89950-453-1." New Theatre Quarterly 7, no. 27 (1991): 295–96. http://dx.doi.org/10.1017/s0266464x00005947.
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LeCompte, Elizabeth, Kate Valk, and Maria Shevtsova. "Covid Conversations 3: Elizabeth LeCompte and Kate Valk." New Theatre Quarterly 37, no. 3 (2021): 205–22. http://dx.doi.org/10.1017/s0266464x21000129.
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Elizabeth LeCompte co-founded The Wooster Group with like-minded pioneers in New York in 1975, leading and directing its collaborators as deaths, departures, and new arrivals have changed its composition and emphases over the decades, segueing into a world-wide uncertain present. Kate Valk joined in 1978, the last representative of The Wooster Group’s foundational period, apart from LeCompte herself, who is still a key member of the company. References in this conversation are primarily to works after 2016. LeCompte briefly remarks on the importance of Since I Can Remember – one of the Group’s ongoing works in progress in 2021 – as an archival project that draws on Valk’s memory of how Nayatt School was made during her formative years. Having become, since then, a quintessential Wooster Group performer, Valk extended her artistic skills to stage direction, undertaking, most recently, The B-Side (2017). Both the initiative and idea for the piece came from performer Eric Berryman, who had brought Valk the collection of blues, songs, spirituals, and preachings on the 1965 LP made from the research of scholar folklorist Bruce Chapman. Berryman had been inspired to approach Valk because of her exclusive use of unadulterated historical recordings in Early Shaker Spirituals (2014), her directorial debut. The main work in rehearsal during 2020 and which was still locked down by the Covid-19 pandemic at the time of this conversation is The Mother, a Wooster Group variant of Brecht’s dramatized version of Gorky’s novel, directed by LeCompte. LeCompte discusses the current situation, emphasizing the increased vulnerability of independent artists and small-scale theatre, while giving a glimpse of the disadvantages for such groupings built into the North American system of project funding. The Wooster Group is a salient example of small-scale theatre that, despite continually precarious conditions, which the pandemic has highlighted and exacerbated, has achieved its creative goals and has defined its place in the exploratory avant-garde flourishing vigorously in the 1960s and 1970s. This particular avant-garde, LeCompte believes, has seen various important developments over the years but might well now be counting its last days. The conversation here presented was recorded on 31 October 2020, transcribed by Kunsang Kelden, and edited by Maria Shevtsova, Editor of New Theatre Quarterly.
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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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Engelbrekt, Kjell. "Beyond Burdensharing and European Strategic Autonomy: Rebuilding Transatlantic Security After the Ukraine War." European Foreign Affairs Review 27, Issue 3 (2022): 383–400. http://dx.doi.org/10.54648/eerr2022028.
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The war in Ukraine unleashed in early 2022 may temporarily obscure the long-term trend that the United States is shrinking its military footprint in and around Europe, as the defence posture of the North Atlantic Treaty Organisation (NATO) in Central Europe suddenly was bolstered by tens of thousands of additionalUS troops. For as long as the war drags on, certainly, these reinforcements will stay in place. But if, and when, the war ends or shifts to attrition warfare stretching out for years, as was the case after the 2014 annexation of the Crimea, one can easily envisage changes in how European governments manage security and defence issues among themselves and in relation to their North American counterparts.While the debate on transatlantic security so far has played out in two distinct modes, either focusing on the economic side of burdensharing or projecting a vision of European strategic autonomy, there is a need for a more sober understanding of the future division of labour, one that would be grounded in the right blend of economics and deterrence. The main suggestion of this article is that stakeholders on both sides of the Atlantic Ocean ‘split the difference’ and strike a new grand bargain on the basis of their respective strengths.Once key issues of financial equity and military deterrence have been adequately addressed, European governments will still have their work cut out for themselves. They must elaborate solutions to specific challenges at the sub-strategic theatre level and at the same time navigate the complexities of optimizing defence reforms, aligning regional force designs and rendering foreign policy compatible with the strategic priorities of the European Union (EU) and Europe at large. Transatlantic relations, foreign and security policy, burdensharing, strategic autonomy, financial equity, deterrence, nuclear weapons
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Kiko, Mora. "Sounds of Spain in the Nineteenth Century USA: An Introduction." Música Oral del Sur, no. 12 (November 19, 2015): 333–62. https://doi.org/10.5281/zenodo.4636748.
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Resumen: Este artículo analiza la introducción de la música popular española en EEUU durante el siglo XIX, utilizando periódicos, revistas y partituras de las editoriales de la época como fuentes primarias, y atendiendo especialmente al área de Nueva York. El carácter historiográfico de esta investigación tiene la intención de servir como un trabajo preliminar que permita una posterior comprensión de las particularidades de la música española en su contacto con la cultura norteamericana. El artículo se centra fundamentalmente en la música popular española, que aquí se refiere no solamente a piezas anónimas de origen popular sino también a aquellas producidas y distribuidas por la industria musical para unaamplia audiencia. En este sentido se acentúan lo que considero las piedras angulares de la presencia de la música española en aquel país. En particular las sucesivas oleadas de bailarinas y bailaoras de escuela bolera y flamenca, la llegada de los guitarristas españoles durante la primera mitad del siglo XIX, la introducción de la canción de salón, de la ópera Carmen, de la zarzuela y del cante flamenco en los espectáculos escénicos y las actuaciones de The Spanish Students en el circuito del vodevil. Abstract: This paper analyzes the introduction of Spanish popular music in the USA during the nineteenth century, using newspapers, magazines and scores released by North American publishing houses of the era as primary sources, with special emphasis on the New York area. With this historiographical research, I aim to lay the groundwork for a later understanding of the particularities of Spanish music in its contact with North American culture. This paper focuses primarily on Spanish popular music, not only anonymous pieces of popular origin but also those produced and distributed for a wide audience by the music industry, highlighting what I consider to be the cornerstones of the Spanish presence in U.S. music and dance. In particular, the consecutive waves of dancers of the bolero (balletic) and flamenco schools, the arrival of Spanish guitarists during the first half of the nineteenth century, the introduction onto U.S. stages of Spanish art song, the opera Carmen, zarzuela (Spanish light opera) and cante flamenco (flamenco song), and the performances of Spanish guitar ensembles on the vaudeville circuit.