Relevant bibliographies by topics / Oregon Shakespeare Festival

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

Academic literature on the topic 'Oregon Shakespeare Festival'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Oregon Shakespeare Festival"

1

Kuftinec, Sonja Arsham. "Oregon Shakespeare Festival." Theatre Journal 69, no. 1 (2017): 96–100. http://dx.doi.org/10.1353/tj.2017.0009.

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Kuftinec, Sonja Arsham. "Oregon Shakespeare Festival." Theatre Journal 70, no. 1 (2018): 94–98. http://dx.doi.org/10.1353/tj.2018.0011.

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Kuftinec, Sonja Arsham. "Oregon Shakespeare Festival." Theatre Journal 71, no. 2 (2019): 215–17. http://dx.doi.org/10.1353/tj.2019.0035.

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Kuftinec, Sonja Arsham. "Oregon Shakespeare Festival." Theatre Journal 72, no. 2 (2020): 221–26. http://dx.doi.org/10.1353/tj.2020.0035.

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Myers, Joseph. "Oregon Shakespeare Festival." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4809245.

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Shurgot, Michael W. "2013 Oregon Shakespeare Festival." Shakespeare Bulletin 32, no. 4 (2014): 705–20. http://dx.doi.org/10.1353/shb.2014.0056.

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Shurgot, Michael W. "2015 Oregon Shakespeare Festival." Shakespeare Bulletin 34, no. 2 (2016): 307–21. http://dx.doi.org/10.1353/shb.2016.0020.

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Shurgot, Michael W. "2016 Oregon Shakespeare Festival." Shakespeare Bulletin 35, no. 3 (2017): 463–77. http://dx.doi.org/10.1353/shb.2017.0035.

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Ko, Yu Jin. "Othello by Oregon Shakespeare Festival." Shakespeare Bulletin 37, no. 2 (2019): 254–58. http://dx.doi.org/10.1353/shb.2019.0034.

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Sonja Arsham Kuftinec. "Oregon Shakespeare Festival (review)." Theatre Journal 62, no. 1 (2010): 93–98. http://dx.doi.org/10.1353/tj.0.0310.

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Dissertations / Theses on the topic "Oregon Shakespeare Festival"

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Foster, Danielle Blanchard. "Ashland Oregon Shakespeare Festival: A study of success." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/144676.

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Angus Bowmer founded the Ashland Oregon Shakespeare Festival in 1935. It is the oldest Shakespearean theatre organization in the Western Hemisphere. The thesis examines the artistic and popular success as well as the problems and opportunities associated with the 60-year-old company. The structure of this investigation begins with a look at the setting of the Festival; next a study of Angus Bowmer, the creator of the OSF; then moves to an analysis of three different productions. Finally, the thesis looks at the Long Range Plan 1988-1992. The Plan, intended as an internal document, serves to gi
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Blasenak, Andrew Michael. "Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare and Company, Shakespeare’s Globe and The Ame." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354047834.

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Kidd, Karen Marie. "Towards a Better Use: The Utah Shakespearean Festival, Teaching Artists, and Outreach Programs." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2863.

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Teaching Artists are an important component of the Utah Shakespearean Festival's Education Department's outreach touring program that visits K-12 schools throughout Utah each year. However, the Education Department could be using Teaching Artists in different and better ways to help K-12 teachers infuse theatre into their curriculum. This work looks carefully at the outreach offered by the Utah Shakespearean Festival's Education Department and then compares it to the outreach work being done by the Oregon Shakespeare Festival and Shakespeare Santa Cruz. Based on the analysis of the three festi
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Books on the topic "Oregon Shakespeare Festival"

1

E, Richard Amy, and Oregon Shakespeare Festival, eds. Oregon Shakespeare Festival. Arcadia Pub., 2009.

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Armstrong, Alan. Oregon Shakespeare Festival Actors Telling the Story. Wellstone Press, 2014.

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3

Brubaker. Golden Fire the Anniversary Book of the Oregon Shakespeare Festival. Oregon Shakespearean, 1985.

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An Oregon Shakespeare festival lover's guide to exploring Southern Oregon and Northern California. 3L Pub., 2013.

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Brubaker, Edward S. Golden fire: The anniversary book of the Oregon Shakespearean Festival. Edited by Brubaker Mary, Hoover Kerry, and Oregon Shakespearean Festival Association. Oregon Shakespearean Festival Association, 1985.

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6

Lundin, Jane. All about Ashland: A guide to the Oregon Shakespearean festival and southern Oregon. Ten Speed Press, 1988.

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7

1922-, Brubaker Mary, ed. Golden fire: The anniversary book of the Oregon Shakespearean Festival. Oregon Shakespearean Festival Association, 1985.

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8

Davidson, Janelle. Ashland, an Oregon oasis: An Oregon documentary. Webb Research Group Publishers, 1995.

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9

This body: A novel. Little, Brown and Co., 1998.

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This Body. Little, Brown and Company, 2009.

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Book chapters on the topic "Oregon Shakespeare Festival"

1

Jensen, Michael P. "Oregon Shakespeare Festival." In The Palgrave Encyclopedia of Global Shakespeare. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-99378-2_148-1.

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Jensen, Michael P. "Oregon Shakespeare Festival." In The Palgrave Encyclopedia of Global Shakespeare. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-99378-2_148-2.

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"Oregon Shakespeare Festival, 2008." In Another Day’s Begun. Methuen Drama, 2021. http://dx.doi.org/10.5040/9781350123472.ch-013.

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Lopez-Rios, Michelle. "Shakespeare Through the Latinx Voice." In Shakespeare and Latinidad. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474488488.003.0011.

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The chapter explores Latinx voices performing the plays of Shakespeare. The author discusses the vocal demands of Shakespeare’s text as well as that of many Latinx works. Specifically, she discusses the voice and text work for productions of Measure for Measure at Chicago’s Goodman Theatre and Julius Caesar and Mojada: A Mexican Medea (by Luis Alfaro) at the Oregon Shakespeare Festival. She details her work with actor Alejandra Escalante and cultivating a Dominican New Yorker accent for Robert Falls’ production of Measure. At OSF, she writes of her work with actor Armando Duran and director Juliette Carrillo. She draws parallels between the vocal work demands of Shakespeare’s works and that of Latinx plays. The author concludes that Shakespearean text through the Latinx voice offers a unique connection for artists and audience.
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"Directors at the Oregon Shakespeare Festival 1930s–1990s." In Directing Shakespeare in America. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781474289726.0008.

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Escalante, Alejandra, Daniel José Molina, and Carla Della Gatta. "Diálogo: On Performing Shakespearean Characters as Latinx." In Shakespeare and Latinidad. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474488488.003.0021.

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In this conversation, Alejandra Escalante and Daniel José Molina tackle the nuances of portraying Shakespearean characters as Latinx actors. Although currently living in New York, they have both worked extensively for the Oregon Shakespeare Festival (OSF), and they met when starring in the lead roles of OSF’s Romeo and Juliet in 2012. They shared the stage again at OSF in The Tempest (2014) and in Henry IV, Part I (2016). Their onstage relationships soon took on an offstage life, with the two marrying each other in 2018. They have both performed Shakespeare in Spanish in various roles. In this dialogue, they discuss their background with Shakespeare, the process of translating his work into Spanish, and their history with performing in plays written by Latinx playwrights.
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Farley, Alan. "Titus Andronicus at the Oregon Shakespeare Festival, 1986*." In Titus Andronicus. Routledge, 2015. http://dx.doi.org/10.4324/9781315724911-44.

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Solis, Octavio. "Willful Invisibility: Translating Shakespeare’s." In Shakespeare and Latinidad. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474488488.003.0020.

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In this chapter, Octavio Solis writes about his experience in “translating” Edward III for the Play on! project at the Oregon Shakespeare Festival. The chapter addresses his difficulty in finding his way into the text, how the rich archaic idiom seemed at once seductive and remote, and how his particular background as a Mexican-American with English as his acquired tongue helped me find my way in. Solis points out how his love of crossword puzzles enabled him to break the code of Shakespeare’s language. The use of meter in his plays is paramount in understanding how he invented countless words and phrases to suit not only the sense of character intention, but also to satisfy the metrical demands of the poetry. But he was also apt in finding ways to “cheat the beat” and defy his own rigor in following the meter. In the end, Solis felt like he had slipped Shakespeare’s writing glove on his hand, and began to understand how he made decisions every step along the way.
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Alvarez, Frankie J. "Passion’s Slave: Reminiscences on Latinx Shakespeares in Performance." In Shakespeare and Latinidad. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474488488.003.0004.

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The essay weaves Alvarez’s personal stories about auditioning for, working on, and running Latinx versions of Shakespeare plays: Measure for Measure at the Oregon Shakespeare Festival in 2011, and the bilingual rep production of Hamlet: Prince of Cuba at Asolo Repertory in 2012. This chapter espouses on the virtues of the bilingual exercise, the importance of diverse stories on stage, how the Spanish and English version of Hamlet were in constant conversation during our run, and the various research and techniques—both vocal and physical—that I used to prepare for and run the show. This chapter also addresses how it has affected the subscriber base and the audience turn-out in the respective communities of Ashland and Sarasota. This chapter addresses the disparity in diversity within the ranks of the theatre administration (those choosing the season and providing the infrastructure for these shows), and argues that the lack of diversity in those positions directly affects the success of a particular production, with OSF being more successful at it than Asolo Rep.
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Boffone, Trevor. "Creating a Canon of Latinx Shakespeares: The Oregon Shakespeare Festival’s Play on!" In Shakespeare and Latinidad. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474488488.003.0018.

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This chapter focuses on the Oregon Shakespeare Festival’s (OSF) much-debated Play on! initiative which commissioned 39 playwrights to translate the Shakespeare canon into contemporary English. The work of Latinx playwrights involved in Play on! expands the confines of what a Latinx Shakespeare can be, demonstrating how these Latinx translations can become a source of inclusion in the American Regional Theatre. Notably, Play on! Tapped 7 Latinx playwrights to do this work, something that led to the groundbreaking La Comedia of Errors, a bilingual community engagement project that saw OSF move from equity and diversity measures to legitimate inclusion of previously marginalized communities in Oregon’s Rogue Valley. This chapter examines the question of double-authorship and, specifically, what it means for Latinx playwrights to share authorship with Shakespeare.
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