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Journal articles on the topic 'Offstage'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Bye, Antony, and Stephen Oliver. "Offstage." Musical Times 133, no. 1790 (1992): 183. http://dx.doi.org/10.2307/965726.

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2

Roe, Sue. "Offstage, Onstage, Remember." New Writing 13, no. 3 (2016): 417–18. http://dx.doi.org/10.1080/14790726.2016.1184686.

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3

Fernández, Doreen G., Jean G. Edades, Mig Alvarez Enriquez, and Doreen G. Fernandez. "Onstage and Offstage." Asian Theatre Journal 2, no. 2 (1985): 234. http://dx.doi.org/10.2307/1124075.

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4

Brown, Mark. "Drama Offstage in Tbilisi." New Theatre Quarterly 28, no. 2 (2012): 198–200. http://dx.doi.org/10.1017/s0266464x12000280.

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5

Lipska, Małgorzata. "Poza sceną, czyli jawne i niejawne w "Dybuku" Szymona An-skiego." Adeptus, no. 7 (June 30, 2016): 21–35. http://dx.doi.org/10.11649/a.2016.002.

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Offstage: The revealed and the concealed in An-sky’s The DybbukThe Israeli theatre scholar Shimon Levy describes the works of Samuel Beckett using the category of “offstage,” i.e. what is “backstage” or “behind the scenes.” This notion is also suitable to describe the plot of An-sky’s play The Dybbuk. The plot, which follows the wanderings of the soul of a prematurely deceased lover, is based on a continuous interplay between the explicit and the implicit, the revealed and the concealed, the present and the absent. Applying the category of “offstage” as an analytical tool allows for speaking about the supernatural forces which are depicted in the play, while replacing religious nomenclature with a glossary of terms from the field of theatre. Poza sceną, czyli jawne i niejawne w Dybuku Szymona An-skiegoIzraelski teatrolog Shimon Levy opisuje twórczość Samuela Becketta, posługując się kategorią „offstage”, czyli tego, co znajduje się poza sceną, za kulisami. Kategoria ta doskonale nadaje się także do opisu fabuły Dybuka Szymona An-skiego. Akcja dramatu o wędrówce duszy przedwcześnie zmarłego kochanka opiera się na ciągłej grze jawnego z niejawnym, odkrytego z zakrytym, obecnego z nieobecnym. Zastosowanie kategorii „offstage” jako narzędzia analitycznego pozwala mówić o ukazanych w dramacie siłach nadprzyrodzonych przy zastąpieniu nomenklatury religijnej zestawem pojęć ze sfery teatru.

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Freihoefer, Kara, Len Kaiser, Dennis Vonasek, and Sara Bayramzadeh. "Setting the Stage: A Comparative Analysis of an Onstage/Offstage and a Linear Clinic Modules." HERD: Health Environments Research & Design Journal 11, no. 2 (2017): 89–103. http://dx.doi.org/10.1177/1937586717729348.

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Objective: The purpose of this study was to understand how two different ambulatory design modules—traditional and onstage/offstage—impact operational efficiency, patient throughput, staff collaboration, and patient privacy. Background: Delivery of healthcare is greatly shifting to ambulatory settings because of rapid advancement of medicine and technology, resulting in more day procedures and follow-up care occurring outside of hospitals. It is anticipated that outpatient services will grow roughly 15–23% within the next 10 years (Sg2, 2014). Nonetheless, there is limited research that evaluates how the built environment impacts care delivery and patient outcomes. Method: This is a cross-sectional, comparative study consisted of a mixed-method approach that included shadowing clinic staff and observing and surveying patients. The linear module had shared corridors and publicly exposed workstations, whereas the onstage/offstage module separates patient/visitors from staff with dedicated patient corridors leading to exam rooms (onstage) and enclosed staff work cores (offstage). Roughly 35 hr of clinic staff shadowing and 55 hr of patient observations occurred. A total of 269 questionnaires were completed by patients/visitors. Results: The results demonstrate that the onstage/offstage module significantly improved staff workflow, reduced travel distances, increased communication in private areas, and significantly reduced patient throughput and wait times. However, patients’ perception of privacy did not change among the two modules. Conclusion: Compared to the linear module, this study provides evidence that the onstage/offstage module could have helped to optimize operational efficiencies, staff workflow, and patient throughput.

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7

Peattie, Thomas. "The Expansion of Symphonic Space in Mahler's First Symphony." Journal of the Royal Musical Association 136, no. 1 (2011): 73–96. http://dx.doi.org/10.1080/02690403.2011.562721.

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This article explores the treatment of space in Gustav Mahler's First Symphony from the perspective of the composer's experience as a conductor of opera. It considers the ‘theatrically’ located offstage utterances in the work's introduction in light of passages from Beethoven's Fidelio (Act 2, scene ii) and Tristan und Isolde (Act 2, scene ii), and against the backdrop of Mahler's controversial attempt to assign the Alla marcia section from the Finale of Beethoven's Ninth Symphony to a small offstage orchestra. By considering in turn the implications of Mahler's treatment of offstage space on the work's overall structure, specifically with respect to the moment of ‘breakthrough’ in the first and last movements, I suggest that Mahler ultimately re-establishes the vitality of the symphony as genre at the intersection between the waning symphonic tradition and the immediacy of operatic convention.

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8

WATANABE, Toshiko. "The cherry orchard as an offstage hero." Japanese Slavic and East European Studies 14 (1993): 21–35. http://dx.doi.org/10.5823/jsees.14.0_21.

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9

Von Glinski, Marie Louise. "ALL THE WORLD'S OFFSTAGE: METAPHYSICAL AND METAFICTIONAL ASPECTS IN SENECA'SHERCVLES FVRENS." Classical Quarterly 67, no. 1 (2017): 210–27. http://dx.doi.org/10.1017/s0009838817000350.

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In his essay on Seneca, T.S. Eliot used theHercules Furens(=HF) as his example to illustrate ‘this curious freak of non-theatrical drama’. Even though Senecan scholarship has by and large moved away from his indictment, the sense that the attention seems to be directed away from the stage points to the play's unique dramaturgy. The surest indicator of this reverse orientation is the conspicuous absence of Hercules himself for much of the play. Hercules is (or wishes to be) permanently ‘elsewhere’. His entrance is delayed for a long time; once home, he rushes offstage after a few lines to kill Lycus. He returns onstage only to be attacked by madness, and is drawn inside the palace again to kill his wife and sons. When his madness abates, he falls asleep onstage; on waking, he longs for a place beyond the known world (and underworld) and finally exits into exile. This article proposes a closer examination of the semiotics of space, especially the symbolic value of the offstage. Seneca is constantly drawing attention to the pull towards the stage perimeter and the unseen offstage, characterizing the cosmic nature of Hercules’ conflict with Juno and questioning the hero's place in the world as the son of an immortal father.

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10

Güçbilmez, Beliz. "An Uncanny Theatricality: the Representation of the Offstage." New Theatre Quarterly 23, no. 2 (2007): 152–60. http://dx.doi.org/10.1017/s0266464x07000059.

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In this article, Beliz Güçbilmez argues that ‘offstage’ is not a place but an idea, a world minus a stage. It is ‘anywhere but here’, and its time is time-minus-now, making it impossible to determine its scale. It is a foreign tongue – a language with an unknown grammar carrying us to the borders of the uncanny. Güçbilmez rereads the offstage as the unconscious of the stage, looking at its more conventional use in the realistic and naturalistic plays of the nineteenth century and after, but also looking forward to the work of Samuel Beckett. Borrowing from Blanchot's interpretation of the Orpheus-Eurydice myth, she characterizes the Beckettian struggle to represent the unrepresentable as the act of bringing Eurydice into daylight – the invisible content of the offstage onto the stage, which is by definition the space of the gaze. Beliz Güçbilmez is an author, playwright, and translator, currently working as an Assistant Professor in the Theatre Department of Ankara University in Turkey. She is the author of Irony and Drama from Sophocles to Stoppard (Ankara: Deniz, 2005) and Time, Space and Appearance: the Form of Miniature in the Turkish Realist Theatre (Ankara: Deniz, 2006). A shorter version of this article was presented at the Working Group of the International Federation for Theatre Research (FIRT/IFTR) at its 2005 meeting in Krakow.

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11

Rousseau, Aloysia. "Offstage Laughter: Restoration Comedies and the Female Audience." XVII-XVIII, no. 70 (December 31, 2013): 209–22. http://dx.doi.org/10.4000/1718.525.

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12

Gross, Robert F. "Offstage Sounds: The Permeable Playhouse of Charles Charles." Theatre Research in Canada 18, no. 1 (1997): 3–17. http://dx.doi.org/10.3138/tric.18.1.3.

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13

Christ, Matthew R. "Draft evasion onstage and offstage in classical Athens." Classical Quarterly 54, no. 1 (2004): 33–57. http://dx.doi.org/10.1093/cq/54.1.33.

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14

Hoek, D. J. (David J. ). "Louis Armstrong: The Offstage Story of Satchmo (review)." Notes 61, no. 2 (2004): 460–62. http://dx.doi.org/10.1353/not.2004.0140.

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15

Gross, Robert F. "Offstage Sounds: The Permeable Playhouse of Charles Charles." Theatre Research in Canada 18, no. 1 (1997): 3–17. http://dx.doi.org/10.3138/tric.18.1.3.

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Provincetown Playhouse manifests a complex thematic interplay of Sameness and Difference, which is rooted in the commonplace misrepresentation of male homosexual desire as a narcissistic formation unable to embrace Difference. Normand Chaurette makes use of this popular prejudice while moving beyond it. The drama not only critiques the inability of a homophobic society to accept alterity, but also critiques a gay identification with a masculinist ideology that perpetuates racism and sexism. Charles Charles's play, "The Sacrificial Slaying of Beauty," is a violent attempt at purging a male society of the feminine. In Charles's comic failure to suppress alterity during the performance of his play, Chaurette gives a model of the many unsuccessful attempts to eradicate Difference throughout Provincetown Playhouse.

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16

Sinfield, Alan. "Coming on to Shakespeare: Offstage Action and Sonnet 20." Shakespeare 3, no. 2 (2007): 108–25. http://dx.doi.org/10.1080/17450910701460874.

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17

Walter, Helen Margaret. "Artist, Professional, Gentleman: The Actor’s Offstage Portrait (1875–95)." Visual Culture in Britain 16, no. 3 (2015): 267–84. http://dx.doi.org/10.1080/14714787.2015.1041799.

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18

Sun, William Huizhu. "Social Performance Studies: An Evolving Process of Endless Dualities." TDR/The Drama Review 60, no. 4 (2016): 14–21. http://dx.doi.org/10.1162/dram_a_00593.

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Performance studies can be divided into aesthetic and social performance studies (SPS). SPS is about all performances offstage. It has been developed in China since 1999 to cover two main areas: analysis and training of non-theatre professionals’ performances; and collective, community-building performances.

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19

Grime, Helen. "Gwen Ffrangcon-Davies: ‘Ethereal from the Waist Up and All Welsh Pony Down Below’." New Theatre Quarterly 27, no. 3 (2011): 203–14. http://dx.doi.org/10.1017/s0266464x1100042x.

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In this article Helen Grime examines the enduring epithet of ethereality and its persistent connection to the career of the actress Gwen Ffrangcon-Davies (1891–1992). Most closely associated with her portrayal of Etain in the much revived musical drama The Immortal Hour, ethereality is understood as a signifier of 1920s femininity. The offstage presentation of a domesticated femininity further evidences the apparent conventionality of this actress's self-presentation at a time of particular anxiety about the socio-political position of women. These notions of femininity hint at the prevailing social attitudes that confronted an actress whose on- and offstage appearances were subject to public scrutiny while her private lesbian identity remained obscured. It is suggested, however, that Gwen Ffrangcon-Davies's playful negotiation of her demonstrably fragmented identity evidences an agency and self-possession belied by her public conformity. Helen Grime completed her thesis, A Strange Omission: Gwen Ffrangcon-Davies, Twentieth-Century Shakespearean Actress, in 2008 and is currently a Lecturer in Drama at the University of Winchester.

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20

Kent, Frederick James, and Carl A. Vigeland. "In Concert: Onstage and Offstage with the Boston Symphony Orchestra." Notes 47, no. 3 (1991): 783. http://dx.doi.org/10.2307/941904.

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21

McLean, Thomas. "Offstage Dramas: Jane Porter, Edmund Kean, and the Tragedy ofSwitzerland." Keats-Shelley Review 25, no. 2 (2011): 147–59. http://dx.doi.org/10.1179/095241411x13089108037409.

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22

Daugherty, Elaine DiFalco, Deborah Hertzberg, and Darrell Wagner. "Offstage Intimacy: Best Practices for Navigating the Intimacy of Costuming." Theatre Topics 30, no. 3 (2020): 211–16. http://dx.doi.org/10.1353/tt.2020.0039.

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23

Seizer, Susan. "Roadwork: Offstage with Special Drama Actresses in Tamilnadu, South India." Cultural Anthropology 15, no. 2 (2000): 217–59. http://dx.doi.org/10.1525/can.2000.15.2.217.

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24

Colleary, Eric J. "Offstage Voices: Life in Twin Cities Theater by Peg Guilfoyle." Theatre History Studies 36, no. 1 (2017): 320–22. http://dx.doi.org/10.1353/ths.2017.0018.

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25

Abdullah Hammood, Najim, Samer Dhahir Mahmood, and Mohamed Ramadhan Hashim. "The Offstage Character in Modern American Drama: Sam Shepard’s Buried Child." International Journal of Applied Linguistics and English Literature 9, no. 4 (2020): 117. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.4p.117.

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This paper highlights and explains the impact of the offstage character, which is widely prevalent in the American drama, on the onstage characters and the audience as well. In the 20th century, American drama is marked by the loss and absence which depict the dark side of American society because of the ramifications of the two World Wars. These consequences are the major reasons behind man’s hopelessness, alienation and failure. With the great development in the field of psychology, at the hand of Sigmund Schlomo Freud in the 19th century, which paved the path for the writers to deeply burrow in the psychological issues that man suffers from in the modern and postmodern era. Consequently, writers, like Shepard, try to examine the hidden issues of their characters by dint of the offstage character in the context of a family that represents the society. These unseen characters have influential roles including; catalyst roles and the proximate cause which uncover the cause of the obliteration of American family members in the darkness of their sin. This paper also examines; the role played by the absent character in dealing with the critical issues of American society, such as the incestuous issues and the failure of the American dream.

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26

Giordano, Cristiana, and Greg Pierotti. "Getting Caught: A Collaboration On- and Offstage between Theatre and Anthropology." TDR/The Drama Review 64, no. 1 (2020): 88–106. http://dx.doi.org/10.1162/dram_a_00897.

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How does an ethnographer remain affected by worlds encountered after leaving the field of research? How does a theatrical deviser build theatrical worlds from empirical research that convey affective experience rather than just dramaturgically sound documentary-style narrative? Affect Theatre is a thinking and acting space for exploring these questions.

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27

Bigliazzi, Silvia. "Site Unscene: the Offstage in English Renaissance Drama by Jonathan Walker." Theatre Journal 70, no. 3 (2018): 427–29. http://dx.doi.org/10.1353/tj.2018.0076.

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28

Jaffe, Jerry C. "Offstage Space, Narrative, and the Theatre of Imagination (review)." Journal of Dramatic Theory and Criticism 27, no. 1 (2012): 142–43. http://dx.doi.org/10.1353/dtc.2012.0027.

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29

Karp, Zaher, Sandra Kamnetz, Natalie Wietfeldt, Christine Sinsky, Todd Molfenter, and Nancy Pandhi. "Influence of Environmental Design on Team Interactions Across Three Family Medicine Clinics: Perceptions of Communication, Efficiency, and Privacy." HERD: Health Environments Research & Design Journal 12, no. 4 (2019): 159–73. http://dx.doi.org/10.1177/1937586719834729.

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Objective: In this study, we explored how two different primary care clinic physical layouts (onstage/offstage and pod-based [PB] designs) influenced pre- and postvisit team experiences and perceptions. Background: Protocols encourage healthcare team communication before and after primary care visits to support better patient care. Physical clinic environments may influence these behaviors, but limited research has been performed. Method: We conducted observations, three interviews with clinic managers, and six focus groups with 21 providers and staff at three family medicine teaching clinics. Observational data were captured through field notes and spaghetti diagrams. Interviews and focus groups were recorded, transcribed, and analyzed using a grounded theory-based approach to understand how aspects of the clinic environment affected communication, efficiency, and privacy. Results: Variations in communication styles and trade-offs between patient contact and privacy emerged as differences. In the onstage/offstage design, colocated teams had increased verbal communication but perceived being isolated from other clinic teams. In contrast, teams in PB clinics communicated with other clinic teams but had more informal patient contact within care-team stations that imposed privacy risk. Conclusions: Primary care clinic design appears to alter provider–team and patient–provider communication and flow. Organizations should consider aligning environmental design with desired interaction patterns when building new primary care clinics.

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Mazur, Ann M. "Offstage Space, Narrative, and the Theatre of the Imagination (review)." Theatre Journal 64, no. 2 (2012): 302–3. http://dx.doi.org/10.1353/tj.2012.0036.

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31

Lewis, Sarah, and Emma Whipday. "Sounding Offstage Worlds: Experiencing Liminal Space and Time in Macbeth and Othello." Shakespeare 15, no. 3 (2019): 272–82. http://dx.doi.org/10.1080/17450918.2019.1640275.

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32

Rose, Mary R., Shari Seidman Diamond, and Kimberly M. Baker. "Goffman on the jury: Real jurors’ attention to the “offstage” of trials." Law and Human Behavior 34, no. 4 (2010): 310–23. http://dx.doi.org/10.1007/s10979-009-9195-7.

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33

McManus, Roseanne W., and Keren Yarhi-Milo. "The Logic of “Offstage” Signaling: Domestic Politics, Regime Type, and Major Power-Protégé Relations." International Organization 71, no. 4 (2017): 701–33. http://dx.doi.org/10.1017/s0020818317000297.

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AbstractThis paper explores the question of how major powers signal support for their protégés. We develop a theory that explains why major powers show support for some protégés using highly visible “frontstage” signals of support, while supporting other protégés through less visible, but nonetheless costly, “offstage” signals. From an international strategic perspective, it is puzzling that major powers do not always send the most visible signal possible. We argue that this can be explained by considering the domestic environments in which the leaders of major powers and protégés operate. Focusing particularly on the United States as we develop our theory, we argue that the US will prefer to send offstage signals of support for more autocratic protégés for several reasons. First, sending frontstage support signals for autocracies would expose US leaders to charges of hypocrisy. Second, frontstage signals of support for autocracies face an impediment to credibility because of the public backlash in the United States that overt support for dictators could generate. Third, many autocratic protégés would be reluctant to accept a frontstage signal of support from the US because it could undermine their regime stability. We test our theory in a data set that records various support signals sent by the United States for other countries between 1950 and 2008, finding strong support for our expectations. We also find evidence of the causal mechanisms posited by our theory in a case study of relations between the US and the Shah's Iran.

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34

Sunardi, Christina. "Pushing at the boundaries of the body: Cultural politics and cross-gender dance in East Java." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 165, no. 4 (2009): 459–92. http://dx.doi.org/10.1163/22134379-90003629.

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Cross-gender dance in East Java has captivated me as a strategy that performers use to negotiate multiple ideas about manhood and womanhood as well as tensions between official ideologies and social realities, expectations about performers’ onstage personas and offstage lives, and competing aesthetic sensibilities. Drawing on ethnographic fieldwork in the regency of Malang and analysis of performers’ verbal discourse, I address issues of the body, perception, agency, and senses of self, foregrounding performers’ insights into their practices’ meanings, the cultural impact they have as artists, and reasons behind multiple perceptions of gender. To examine relationships between larger cultural forces and performers’ views, I use generation as an analytical framework. I consider performers in three generations – the 1940s-1960s, the 1970s-1990s, and the 1990s to the present. That these generations correlate closely to three political periods in Indonesian history – Old Order (1945-1965/6), New Order (1966-1998), and Reformation Era (1998-present) – has led me to make three related arguments. First, the political and cultural climate has affected the discourse through which musicians and dancers expressed their perceptions about the performance of gender. Second, performers have rearticulated larger cultural and political discourses in their own ways, thereby asserting their own senses of gender. Third, performers have affected the political and cultural climate by pushing at the boundaries of maleness and femaleness onstage and in their daily lives, making on- and offstage spaces fluid and complementary sites of cultural and ideological production.

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35

KIM, SUK-YOUNG. "From Imperial Concubine to Model Maoist: The Photographic Metamorphosis of Mei Lanfang." Theatre Research International 31, no. 1 (2006): 37–53. http://dx.doi.org/10.1017/s0307883305001896.

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This article traces the transnational career of the celebrated Beijing opera female impersonator Mei Lanfang (1894–1961) through photographic documentation of the performer. A wide spectrum of Mei's photos is analysed, which captures him both onstage and offstage. The timeline of these photos ranges from those produced during the Republican period (1911–49) to those produced in the People's Republic of China (PRC) (1949–) and includes media coverage from the US (1920s) and the USSR (1930s). This article raises questions about how nationalism, transnationalism and female impersonator's gender identity are represented in ever-transforming modes.

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36

Pyle, Marcus R. "The Rhetoric of Seduction; or Materiality under Erasure." 19th-Century Music 43, no. 3 (2020): 194–208. http://dx.doi.org/10.1525/ncm.2020.43.3.194.

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Operatic versions of the femme fatale, the preeminent figure of European modernist aesthetics, compel and allure because we witness her coming into material presence through the course of her opera. Through vocalizing, the femme fatale manifests her corporeality under imminent threats of erasure by coopting and manipulating the offstage world as represented by the orchestra. The Seguidilla seduction scene in George Bizet's Carmen and the “Dance of the Seven Veils” in Richard Strauss's Salome raise the question of how subjectivity and material presence, especially of the femme fatale character, are depicted sonically, dramaturgically, and metaphysically.

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37

Sack, Daniel. "The Brilliance of the Servant without qualities: Bare life and the horde offstage." Studies in Theatre & Performance 32, no. 3 (2012): 257–67. http://dx.doi.org/10.1386/stap.32.3.257_1.

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38

Coo, Lyndsay. "Four Off-Stage Characters in Euripides' Hecuba." Ramus 35, no. 2 (2006): 103–28. http://dx.doi.org/10.1017/s0048671x00000837.

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But off-stage characters can have value, a great deal of value, if selectively handled.… Pick them with care, imagine them well, and they can do more for you than they could had they been brought on.J. van Druten,Playwright at Work(London 1953), 117f.The study of off-stage characters—by which I mean human characters with a physical presence within the world and setting of the play, but who never actually appear on-stage—is a critical angle seldom applied to Greek tragedy. I hope to show that Euripides'Hecubaparticularly repays this unorthodox approach. Its on-stage characters are complemented by crucially important offstage figures, and I shall focus on the four who are of greatest importance forHecuba: Achilles, Neoptolemus, Cassandra and Helen. My investigation will be structured around the following questions:• What traditions were associated with these characters beforeHecuba, and what resulting preconceptions might Euripides' audience have held about them?• How are these characters represented by the on-stage characters, and with what effect?• What is the symbolic effect of the absence of these characters?Taken together, the answers to these questions will provide a new reading ofHecuba, revealing how Euripides' choices over which characters to feature offstage and how to represent them contribute to the overall themes of the tragedy. My exploration will lead to me engage with many issues of interpretation, both literary and textual. I hope to show that Euripides' decision to keep a character off-stage is as deliberate and strategic as the decision to feature one prominently on-stage.

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39

Walker, Jonathan. "RHETORICS OF THEOBSCÆNE." Theatre Survey 48, no. 1 (2007): 77–97. http://dx.doi.org/10.1017/s0040557407000373.

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Usual stuff, more or less, only inside out. That is the condition under which Tom Stoppard's Rosencrantz and Guildenstern labor, a condition in which all the world's a backstage. Taking Shakespeare'sHamletas the “supposed to happen,” as a kind of imaginary promptbook,Rosencrantz & Guildenstern Are Deadreverses theatrical perspectives to show the lives of its not-so-lead characters “off.” In one sense Stoppard's play blunts the purpose of its dramatic forebear by not keeping to the usual stuff, but then it also highlights the various regions, conversations, and actions of an offstage world thatHamlet, like most other drama, must always take for granted.

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40

Welch, Ellen R. "The Confusion of Diverse Voices: Musical and Social Polyphony in Seventeenth-Century French Opera." Renaissance Quarterly 73, no. 2 (2020): 567–94. http://dx.doi.org/10.1017/rqx.2020.5.

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This essay explores how two early modern French writers considered choral music in opera as a figure for society. Pierre Corneille, in his musical tragedy “Andromède,” and scientist and critic Claude Perrault, in several texts about music and acoustics, made subtle apologies for the polyphonic choral song condemned by many contemporaries as unintelligible. Beyond defending the aesthetic value of choral music, Corneille and Perrault associated multi-part song with collective vocalizations offstage, in the real world. Their instructions on how to appreciate choral interludes in opera also served, therefore, to train listeners to attend to the polyphony of society.

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41

Conway, Paul. "London, BBC Maida Vale Studios: Justin Connolly's Piano Concerto." Tempo 58, no. 228 (2004): 66–67. http://dx.doi.org/10.1017/s0040298204280159.

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Many of Justin Connolly's works have been premièred and recorded by Nicholas Hodges, whose musicianship provided the inspiration for Connolly's Piano Concerto (2001–2003). The form and character of the piece are influenced by the ancient idea of the labyrinth, the forces of soloist and orchestra being well suited to the roles of Theseus and the Minotaur, where one protagonist signifies the existence of the other and the distinction between hero and villain is not always apparent. The orchestral forces employed are unexceptional. Brass and percussion are divided into two separate groups to the left and right of the conductor, whilst the first horn player sits apart from his colleagues and is mirrored by a fourth, offstage, horn player.

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Conway, Paul. "Manchester, Cosmo Rodewald Concert Hall: Gordon Crosse's L'enfant sauvage." Tempo 67, no. 266 (2013): 76–78. http://dx.doi.org/10.1017/s0040298213000910.

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Contemporary music ensemble Psappha gave three world premières in a concert at the University of Manchester's Cosmo Rodewald Hall on 8 March 2013. Their programme began with first performances of brief works by two young composers connected with the University. I Lost My Way in Dixieland, by Thomas Jarvis (b.1991), was a deftly realized deconstruction and reinvention of a popular jazz style, with a throwaway ending that made an apt parting gesture for a witty and enjoyable pastiche. And Sempadan, by Sayyid Shafiee (b.1987), made effective use of offstage trumpet and trombone interacting with on-stage clarinet, percussion and double bass, to suggest the concept of two different but complementary cultures.

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O'Keefe, Vincent A. "Reading Rigor Mortis: Offstage Violence and Excluded Middles "in" Johnson's Middle Passage and Morrison's Beloved." African American Review 30, no. 4 (1996): 635. http://dx.doi.org/10.2307/3042517.

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Kerber, Heide, and Johanna Kramm. "On‐ and offstage: Encountering entangled waste–tourism relations on the Vietnamese Island of Phu Quoc." Geographical Journal 187, no. 2 (2021): 98–109. http://dx.doi.org/10.1111/geoj.12376.

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Little, James. "Home, the Asylum, and the Workhouse in The Shadow of the Glen." Irish University Review 46, no. 2 (2016): 260–74. http://dx.doi.org/10.3366/iur.2016.0226.

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This essay analyses J.M. Synge's construction of domestic and institutional space in his debut play The Shadow of the Glen. The Richmond Asylum and Rathdrum Union Workhouse, the two institutions of confinement which are mentioned in the play, are seen as playing important roles in constructing a threatening offstage space beyond the cottage walls. The essay reads Nora's departure from the home at the end of the play as an eviction into this hostile environment, thereby challenging the dominant interpretation of The Shadow as a woman's choice between her home and the road. By drawing on historical research and Synge's travel writing to delineate contemporary attitudes towards the asylum and the workhouse, the essay aims to provide a deeper understanding of the play's dynamics of place.

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Saputri, Ainun Rahmania. "STUTTERING LANGUAGE DISORDER OF STAND-UP COMEDIAN OFF-STAGE SPEECH." PARADIGM 1, no. 2 (2020): 143–52. http://dx.doi.org/10.18860/prdg.v1i2.10098.

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This study aims to analyze the type of stuttering found in a stand-up comedian's speech when speaking offstage. It used a descriptive qualitative method. The theoretical concept used is from Carrol (1986) on the types of language disorders and it adapted the theoretical framework of Handoko (2014) and Saragih (2018) to analyze the types and the occurrence of stuttering language disorder. Based on the results of the analysis, there are two kinds of expressive language disorders found in namely fluency disorder and voice disorder. Fluency disorder occurs in the form of repetition, prolongation, interjection, and pause. The type of stuttering mostly found is repetition. There is no characteristic of circumlocution stuttering. In addition to bringing up the types of individual characteristics, the utterances also show combinations of voice disorders.

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Rosario, Azalea. "Becoming Julia." Harvard Educational Review 83, no. 1 (2013): 87–88. http://dx.doi.org/10.17763/haer.83.1.2k036k241271r2t5.

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The spotlight exposes my presence. I feel as if I have all of the power on stage. The words linger in my mind as though a dart has been thrown into my heart. I stop and think. How can such a loving girl go through the misfortunate events that Julia goes through for her unfaithful boyfriend? Hatred enters my heart and a small lump forms in my throat, despite the fact that I am in front of an audience performing the role of Julia from Shakespeare's The Two Gentlemen of Verona. I feel her pain and her anger. Part of me wants to run offstage because I no longer want to portray a heartbroken girl, but another part of me wants to stay and complete the play for my audience, and for Julia.

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Schweitzer, Marlis. "“The Mad Search for Beauty”: Actresses' Testimonials, the Cosmetics Industry, and the “Democratization of Beauty”." Journal of the Gilded Age and Progressive Era 4, no. 3 (2005): 255–92. http://dx.doi.org/10.1017/s1537781400002656.

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“Actresses as a rule know no more about making themselves beautiful than does the average woman; neither are they naturally more beautiful,” wrote actress Margaret Illington Banes in a 1912 article entitled “The Mad Search for Beauty.” “The truth of the matter is,” she continued, “that no actress—or any woman—can impart the secrets of beauty to another, any more than the rich man can impart the secrets of business success to some other man.” Disturbed by recent trends in the theatrical profession that required actresses to present themselves as “beauty specialists,” Banes sought to expose the constructed nature of their on- and offstage performances. Stage stars captivated audiences because they had numerous opportunities to appear onstage dressed in the height of style; “under the same circumstances,” she concluded, most women “would look quite as well.”

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Keeney, Patricia, and Don Rubin. "Canada's Stratford Festival: Adventures Onstage and Off." New Theatre Quarterly 25, no. 2 (2009): 187–94. http://dx.doi.org/10.1017/s0266464x09000281.

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The festival season in Stratford, Ontario, was fraught with an offstage drama which seemed to reprise that of thirty years ago, when an experiment with a triumviral directorate ended in dissension and near disaster. However, once the dust had settled, an interestingly balanced season emerged, mixing Shakespeare and Shaw, ancient Greek and modern tragedy, Beckett and balletic Moby Dick. Here Patricia Keeney and Don Rubin offer their assessment of a wide-ranging repertoire. Patricia Keeney is a poet, novelist and long-time theatre critic for the monthly journal Canadian Forum. She is a Professor of English and Creative Writing at Toronto's York University. Don Rubin is the founding editor of the quarterly Canadian Theatre Review, General Editor of Routledge's six-volume World Encyclopedia of Contemporary Theatre, and Director of the Graduate Program in Theatre Studies at Toronto's York University.

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Ghoshal, Shubhra, and Nirban Manna. "Theatre for Sustainable Development: Jana Sanskriti’s Participatory Ideologue and Practice." Problemy Ekorozwoju 15, no. 1 (2020): 221–27. http://dx.doi.org/10.35784/pe.2020.1.23.

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As a reaction against the institutionalized top-down developmental orientation, the theory and praxis of development as an inclusive process of socio-political collective transformation has been constantly realized. At this juncture, performative activities have become increasingly instrumental strategies in engaging people more intrinsically in their various personal and social development issues. The focus of this paper lies in studying Jana Sanskriti Centre for Theatre of the Oppressed, which despite being an apolitical organisation, offers significant contribution towards searching for viable socio-political possibilities in contemporary India. The paper delves into discussing some specific ground realities of rural West Bengal, deliberating on the endeavours of Jana Sanskriti in extending onstage representations to offstage reformation. This research investigates how sustainable changes, defined as both individual psychological transformation and groups’ socio-political consciousness are generated among spectators through participation in this theatrical process.

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