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Journal articles on the topic 'Political theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.

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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in foc

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2

Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.

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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and political) theatre should be an entertaining theatre. The Norwegian theatre company Hålogaland Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political messages with the revue format, and by such attempted to make a contemporaneous red revue ins

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3

Frljić, Oliver. "Postdramatic Theatre and Political Theatre." Dramsko i postdramsko pozorište 2022, posebno izdanje (2022): 129–35. http://dx.doi.org/10.18485/fdu_zr.2022.dpdp.11.

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YILDIRIM, ŞEYDA NUR. "Staging Theatre Historiography: The Afterlives of Ottoman Armenian Drama in Contemporary Turkish Public Theatre." Theatre Research International 48, no. 3 (2023): 246–63. http://dx.doi.org/10.1017/s0307883323000160.

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In the last twenty years, memory has gained broader attention in Turkey's social, cultural and political arena. In line with this movement, independent and subsidized theatres produced plays engaging with Armenian history through diverse political and aesthetic agendas. Among these works, public and state theatre productions remained mostly invisible in theatre scholarship due to their ambiguous position that does not directly align with the framework of political theatre. This article examines the adaptation of the Ottoman Armenian playwright Hagop Baronian's Adamnapuyj aravelyan (1868) as Şa

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Frank, Vojtěch. "Musical Theatre as an Object of Transnational Political Exchange." Historical Studies on Central Europe 2, no. 1 (2022): 219–36. http://dx.doi.org/10.47074/hsce.2022-1.10.

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The paper focuses on the ways Czech-language theatres in Czechoslovakia were dealingwith the obligatory presence of Soviet operetta titles in their repertoire, dating from about 1950to 1989. The reform of Czech musical theatre began right after World War II. In search of the right,nationalized form of operetta, Czech theatre organs soon understood that the example must bedrawn from the hegemonic Soviet culture. In the Soviet discourse, mainly Isaac Dunayevsky’soperettas were considered masterpieces, and Czech theatre politicians were soon paying theirattention to them. After some initial diffi

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6

van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the

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7

Bird, Kym, and Ed Nyman. "Quipping Against the Pricks: Comedy, Community and Popular Theatre." Canadian Theatre Review 77 (December 1993): 8–12. http://dx.doi.org/10.3138/ctr.77.002.

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The Company of Sirens and the Workman Theatre Project are only two of the many members of the Canadian Popular Theatre Alliance who are using theatre, as Brecht did, to change political and social consciousness while entertaining audiences. Liberal humanist notions of “art” (of greatness, genius, the masterpiece) have caused many to denigrate popular theatre for its political agenda, as though other theatres can be free from the political and ideological conditions under which they are produced. Most popular theatre workers, however, accept that all cultural labour is ideologically committed a

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8

Seppälä, Mikko-Olavi. "S.O.S. - A Pacifist Intervention in Helsinki 1929. The Intercrossing of Modernism and Socialism." Nordic Theatre Studies 28, no. 1 (2016): 39. http://dx.doi.org/10.7146/nts.v28i1.23971.

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The article examines the co-operation between a (Swedish-speaking) modernist author with a (Finnish-speaking) workers’ theatre in 1920s Finland. It shows how modernist aesthetics and the socialist movement met in the practices of the workers’ theatres and what dangers lay in this combination. I am especially interested in the moments when the radical intelligentsia - artists, writers, and theatre directors - joined forces with the workers’ theatres in order to create political theatre. Political turmoil was about to occur when Hagar Olsson’s play S.O.S. premiered in Helsinki in March 1929. The

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9

Hamidi-Kim, Bérénice. "Post-Political Theatre versus the Theatre of Political Struggle." New Theatre Quarterly 24, no. 1 (2008): 41–50. http://dx.doi.org/10.1017/s0266464x08000043.

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In this article Bérénice Hamidi-Kim tests the hypothesis that two conflicting interpretations of the notion of ‘political theatre’ exist on the French stage today. She suggests that each is based on a specific ideology stemming from a specific conception of history and policy, which results in a legitimation of the theatre and of artists both in the theatrical field and in society at large. One, which she calls ‘post-political theatre’, seems to proceed from a radical anthropological and political pessimism, and has deliberately severed all links with all previous forms of political theatre an

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10

Tukhvatulina, K.A. "Cultural policy in the sphere of theatrical art in 1917-1932." Society and Power, no. 4 (June 5, 2009): 94–97. https://doi.org/10.5281/zenodo.13331118.

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This article considers the activities of the first states organs of the theatre government under the conditions of the Soviet states transformation. It analyses the changes of the political course as to the theatre, and the Soviet authorities aspirations to integrate theatres into the political and social system.

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11

Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw." Samara Journal of Science 6, no. 4 (2017): 169–73. http://dx.doi.org/10.17816/snv201764211.

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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examine

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12

Tillis, Steve. "CONCEPTUALIZING SPACE: THE GEOGRAPHIC DIMENSION OF WORLD THEATRE." Theatre Survey 52, no. 2 (2011): 301–27. http://dx.doi.org/10.1017/s0040557411000408.

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Geography has been accorded surprisingly little attention in the study of world theatre history. Maps are by no means the sum total of geographic knowledge, but their existence (or the lack thereof) provides a handy indicator of an author's interest in the subject. Oscar G. Brockett and Franklin J. Hildy'sHistory of Theatrehas numerous pictures of actors and diagrams of theatres but only one map that directly pertains to theatre. All the rest of its maps (of which there are fewer than two dozen) are standard-issue political maps.Theatre Histories: An Introduction, by Phillip B. Zarrilli and ot

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13

Eckersall, Peter. "Political Theatre Reconsidered." PAJ: A Journal of Performance and Art 46, no. 1 (2024): 113–17. http://dx.doi.org/10.1162/pajj_r_00703.

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14

Fareeha Zaheer. "Theatrical Milieu: Investigating Drama and Theatre in tandem with Socio-Political Landscape of Pakistan." sjesr 4, no. 2 (2021): 278–87. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(278-287).

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This study is an attempt to trace the impacts of socio-political conditions in the formation and evolution of drama and theatre traditions in Pakistan. It provides the genesis of theatre and drama in Pakistan intertwining it with the past and present situations of this genre of literature. It also ventures at the inert position of drama and theatre in English in Pakistan. Qualitative textual analysis is conducted to analyze and highlight the major available critical acumen in the genre of Pakistani drama and theatre. The methodology adopted is interpretive of the theatrical performances by maj

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15

Golovlev, Alexander. "Political Control, Administrative Simplicity, or Economies of Scale? Four Cases of the Reunification of Nationalized Theatres in Russia, Germany, Austria, and France (1918–45)." New Theatre Quarterly 38, no. 2 (2022): 107–24. http://dx.doi.org/10.1017/s0266464x22000021.

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In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for

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16

Wilmer, S. E. "Performing «Polishness»." Pamiętnik Teatralny 70, no. 2 (2021): 165–69. http://dx.doi.org/10.36744/pt.823.

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This article is a review of Dariusz Kosiński’s Performing Poland: Rethinking Histories and Theatres (Aberystwyth 2019). The author points out that the book is an attempt at introducing several centuries of Polish theatre and performance to an international reader. It is divided into five sections which overlap chronologically, altogether creating a comprehensive presentation of Polish theatre. These sections are: theatre of festivities, theatre of fundamental questions, national theatre, political theatre, and theatre of the cultural metropolis. The author, however, draws attention to a proble

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17

Cremona, Vicki Ann. "Politics and Identity in Maltese Theatre: Adaptation or Innovation?" TDR/The Drama Review 52, no. 4 (2008): 118–44. http://dx.doi.org/10.1162/dram.2008.52.4.118.

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The period from the 1960s to the 1990s was one of great political change in Malta. Up until its independence in 1964, Malta had been under foreign domination, and this new political direction meant change in the way the Maltese saw and governed themselves. Theatre during this period expressed this emerging new identity. Looking at theatre and political protest during this period reveals that in contrast to the more politically engaged post-independence theatre, recent Maltese theatre is relatively unchanging, perhaps due to a more general decline in political involvement.

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18

MOLONY, MARTIN G. "‘Oh, This Is More of Stretch’s Show’: Randal Stretch and Puppet Theatre in Eighteenth-Century Ireland." Eighteenth-Century Ireland: Volume 37, Issue 1 37, no. 1 (2022): 91–107. http://dx.doi.org/10.3828/eci.2022.6.

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This article outlines the popularity - and financial success - of an eighteenth-century Dublin puppet theatre that threatened mainstream theatres of the time. Randall Stretch’s puppet theatre, in Dublin’s Capel Street, became the centrepiece for satirical and political commentary of the day. Stretch’s theatre caught the attention of Dean Swift and his circle and is commemorated in satirical verse of the period. For decades, Dubliners used the phrase ‘This is more of Stretch’s Show’ to refer to anything outlandish or incredible. The article underlines the power of the puppet theatre as a satiri

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19

Douxami, Christine. "Brazilian Black Theatre: A Political Theatre Against Racism." TDR/The Drama Review 63, no. 1 (2019): 32–51. http://dx.doi.org/10.1162/dram_a_00815.

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Black Brazilian theatre constitutes a political and artistic response to the racial discrimination characteristic of Brazilian society. As early as 1944, young members of the recently created black political movement saw theatre as a potential weapon to transform Brazilian society and created the Teatro Experimental do Negro (Black Experimental Theatre). This activist theatre continues to this day to pave the way for other black theatre companies.

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20

Bessami, Hanane, and Yousef Abu Amrieh. "Youths and Political Allegory: Nader Omran’s A Theatre Company Found a Theatre and Theatred Hamlet." Theory and Practice in Language Studies 12, no. 9 (2022): 1790–98. http://dx.doi.org/10.17507/tpls.1209.11.

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This paper investigates Jordanian playwright Nader Omran’s adaptation of Shakespeare’s Hamlet. It examines Omran’s dramatization of the struggle of Arab youths in a region ruled by corrupt leaders. In particular, the paper focuses on how Omran transforms Shakespeare’s Ophelia into an assertive and dynamic character to reflect the contemporaneous circumstances and conditions of the Arab World in A Theatre Company Found a Theatre and Theatred Hamlet (1984). In Omran’s adaptation, Ophelia’s suicide is an act of self-immolation which anticipates Tunisian fruit and vegetable vendor Mohammed Bouaziz

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21

Zheng, Hong. "Public Space: Civic Culture and Subordinate Culture." Journal of Social and Political Sciences 1, no. 2 (2018): 306–13. https://doi.org/10.31014/aior.1991.01.02.21.

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Public space is a physical spot where public activities occur. By comparing the theatre of Dionysus in Athens polis and courtyard theatre in ancestral hall in Ming and Qing dynasty, in view of the component of the space, the activities in the space and sense of time and space on the stage, this article describes how the civic culture and subordinate culture occurred in the theatres, analyses the effects that theatre spaces and senses of the time and space made on the political culture. In the last part, the article in view of environmental psychology reveals the connection between the space an

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22

Chubrei, Anastasiia. "THE UKRAINIAN PRESS OF GALYCIA OF THE 20–30’s OF THE XXth CENTURY AS THE RESOURCE OF THE INVESTIGATION OF THE PUBLISHING THEATRICAL POLICY OF THE REPERTOIRE." Proceedings of Research and Scientific Institute for Periodicals, no. 11(29) (2021): 291–306. http://dx.doi.org/10.37222/2524-0331-2021-11(29)-13.

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The level of the publishing policy for the theatrical repertoire of the professional and amateur theatres according to the points of view of the authors of the Galycia press of the internal period of the theatrical, socio-politicaland other directions is found, the value of the Ukrainian theater in the context of the socio-political situation in the Eastern Galycia and ideological views of the certain edition or appendix is in vestigated. According to the analysis of the messages devoted to the existing theatrical repertoire on the publisher’s market the precedence of the quantity (meaning tha

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23

Sobol, Joshua. "Theatricality of Political Theatre." Maske und Kothurn 33, no. 3-4 (1987): 107–12. http://dx.doi.org/10.7767/muk.1987.33.34.107.

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24

Schwartz, David. "Genealogy of Political Theatre in Post-Socialism. From the Anti-“System” Nihilism to the Anti-Capitalist Left." Studia Universitatis Babes-Bolyai Sociologia 64, no. 2 (2019): 13–40. http://dx.doi.org/10.2478/subbs-2019-0008.

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Abstract What have been the conditions of production for a political theatre to appear in post-1990s Romania? How and why contemporary theatre in Romania ended up ignoring or dismissing the leftwing, engaged or militant theatrical movements active before 1945? Why local theatre history and theory entirely obliterated, also, the politically-engaged theatre forms active during communism itself? What kind of tradition forms the contemporary political theatre, what is the politics that informs their working practices and collaborations, how do the artists engage with the groups they choose to give

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25

Bas, Elif. "From Self-Effacement to Confrontation: The Emergence of Queer Theatre in Istanbul." Asian Culture and History 8, no. 2 (2016): 126. http://dx.doi.org/10.5539/ach.v8n2p126.

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Over the past ten years, the number of alternative theatres run by young artists in Istanbul has increased significantly. Political theatre has become an important part of this new cultural milieu. This article explores the emergence of queer theatre as part of this trend, especially in the last five years. It also examines the developments that gave rise to this theatre and elaborates on the topic by analysing two plays Cadinin Bohcasi (Sack of the Witch) and 80lerde Lubunya Olmak (Being a Transsexual in the 80s).

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Vagapova, Natalia. "POLITICAL THEATER ON THE SCENES OF BELGRADE INTERNATIONAL THEATRE FESTIVAL." Urgent Problems of Europe, no. 2 (2021): 154–75. http://dx.doi.org/10.31249/ape/2021.02.07.

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The article presents a cultural and political analysis of the activities of the Belgrade International Theater Festival (BITEF) - a significant theatrical, general cultural and social phenomenon in Serbia, the Balkans / South-Eastern Europe, and throughout Europe as a whole. Before the collapse of the SFRY (1991-1992), being the official showcase of self-government socialism, the festival was at the same time one of the most representative shows of new theatrical trends in Europe. It was attended by troupes from the countries of the East and West - Western and Eastern Europe, the USSR, the USA

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Haddad, Naif Adel, Leen Adeeb Fakhoury, and Talal S. Akasheh. "Notes on anthropogenic risks mitigation management and recovery of ancient theatres’ heritage." Journal of Cultural Heritage Management and Sustainable Development 8, no. 3 (2018): 222–56. http://dx.doi.org/10.1108/jchmsd-11-2016-0062.

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Purpose Ancient theatres and odea are one of the most significant and creative socio-cultural edutainment centres of human history that are still in use. They stood and served as huge multi-functional structures for social, religious, propaganda and political meeting space. Meanwhile, ancient theatres’ sites have an intrinsic value for all people, and as a vital basis for cultural diversity, social and economic development, they should continue to be a source of information for future generations. Though, all places with ancient theatre heritage should be assessed as to their potential risk fr

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28

Kreicberga, Zane. "LATVIAN THEATRE IN TRANSITION . THE ROOTS IN THE 1990s." Culture Crossroads 19 (October 11, 2022): 78–88. http://dx.doi.org/10.55877/cc.vol19.30.

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This paper focuses on the emergence and evolution of the so-called independent theatre scene in Latvia in the radically changing socio-political and institutional context of the 1990s. The analysis concerns the question why in Latvia the independent theatres did not become a significant alternative from the inherited institutional repertory theatre system until the second decade of the new century. Examples of the independent theatres Kabata, Skatuve and Mūris help to illustrate the general tendencies showing that a lack of a strong artistic vision and managerial strategy in difficult economic

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29

Figeac, Michel. "Les théâtres à Bordeaux sous la révolution: les luttes politiques sur la scène." Romanica Wratislaviensia 67 (July 23, 2020): 91–106. http://dx.doi.org/10.19195/0557-2665.67.7.

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At the end of the Ancien Régime, theatre in Bordeaux was particularly renowned due to the construction by Victor Louis of one of the most beautiful performance halls in France. This study aims to describe the theatrical activity during the Revolution and to show how theatres proliferated because control of the stage had become a real political issue. The theatre, indeed, was both an educational place for the emergence and propagation of the new ideas, a format convenient for ci-tizens, but also a closed space favourable to contestation. We also consider the consequences of this political activ

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30

Mosse, Ramona. "Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre (review)." Theatre Journal 58, no. 2 (2006): 372–73. http://dx.doi.org/10.1353/tj.2006.0124.

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31

Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (2014): 61–64. http://dx.doi.org/10.17722/jell.v1i3.19.

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Of all the contemporary dramatists, Howard Brenton is surely the most prolific, marked by breadth and variety,his plays mainly tackling moments of great political upheavals of the time. Many of his plays are turned out at speed as quickresponses to events in public life. Brenton, as a man of political conviction, exposes contemporary consciousness. The theatreserves as a platform for his political revolt expressive of disillusionment at the failure of socialism. Following the trend ofBrechtian Epic Theatre, Brenton used the basic principles in matters of setting, characterization, empathy and

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Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (2014): 61. http://dx.doi.org/10.17722/jell.v1i3.42.

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33

Šentevska, Irena. "In Search of Catharsis. Theatre in Serbia in the 1990s." Südosteuropa 65, no. 4 (2018): 607–31. http://dx.doi.org/10.1515/soeu-2017-0041.

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Abstract This paper discusses various points about the response of the Serbian theatre to the social crisis of the 1990s. The focus here is on publicly-funded theatres and their role in pacifying or mobilizing theatre audiences either to participate in or revolt against the political projects which accompanied the dissolution of Yugoslavia. The Serbian theatre system in the 1990s entered a clear process of transformation of its models of management, production, financing, public relations and, naturally, the language and forms of expression inherited from the socialist 1980s. The chief interes

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Friedman, Dan. "Theatre, Community, and Development: The Performance Activism of the Castillo Theatre." TDR/The Drama Review 60, no. 4 (2016): 68–91. http://dx.doi.org/10.1162/dram_a_00596.

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The Castillo Theatre’s three decades of making theatre as part of an ongoing politically progressive community-building project in New York City is a new concept/practice of political theatre. Its radical statement is located not primarily in what’s presented onstage, but with those who make the theatre collaboratively, approaching social change activism performatively rather than ideologically.

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Korkut, Perihan. "“Creative Drama” in Turkey." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 1 (2018): 70–86. http://dx.doi.org/10.33178/scenario.12.1.5.

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The Turkish Republic is a young one. Established in 1923, it has gone through many social and political transformations, which have inevitably had an influence on how science and art are perceived. The Republic inherited from the Ottoman Empire a performative art tradition which had its roots in three distinct types of theatre: village shows; folk theatre played in town centres; and court theatre, which was based on “western” theatrical traditions. Considering the geographical location of Turkey, the term “West” signified the more advanced and civilized countries of the time, most of which wer

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Platelle, Fanny. "Le théâtre populaire viennois des XVIIIe et XIXe siècles, entre marges et centre(s)." Austriaca 81, no. 1 (2015): 17–35. http://dx.doi.org/10.3406/austr.2015.1193.

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The Viennese Folk Theatre in the 18th and 19th centuries : between periphery and centre For a long time, Viennese Folk Theatre was regarded as a regional and minor genre relegated to the margins of legitimate theatre. By underlying the many exchanges between Folk Theatre and European theatre (and literature in general) of the 18th and particularly 19th centuries, this paper demonstrates how the main suburban stages (the Leopoldstädter Theater, then the Carltheater, and the Theater an der Wien) made of Vienna in the 19th century an European centre for vaudeville and operetta, alongside Paris, L

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Hillman, Rebecca. "(Re)constructing Political Theatre: Discursive and Practical Frameworks for Theatre as an Agent for Change." New Theatre Quarterly 31, no. 4 (2015): 380–96. http://dx.doi.org/10.1017/s0266464x1500069x.

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In 2015 the concept of live performance as having efficacy to instigate political change is contested, yet some politically motivated performance has demonstrably facilitated change, and critical frameworks have been developed that account for performances that hold clear political stances. However, even where arguments exist for the enduring relevance of political performance, certain models of practice tend to be represented as more efficacious and sophisticated than others. In this article, inspired by her recent experiences of making political theatre, Rebecca Hillman asks to what extent p

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Bentley, Eric. "Writing for a Political Theatre." Performing Arts Journal 9, no. 2/3 (1985): 45. http://dx.doi.org/10.2307/3245510.

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39

Pukelytė, Ina. "Political Influence on Theatre Historiography." Nordic Theatre Studies 31, no. 2 (2020): 37–48. http://dx.doi.org/10.7146/nts.v31i2.120119.

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The article discusses the question of the memory of Jewish history and culture in Lithuania in regard to the cultural and political debates that are actually taking place in Lithuanian society. Historical facts, concerning Jewish cultural life in Lithuania before the Second World War, were eliminated from the research field conducted by historiographers during the Soviet and the early post Soviet times. The article argues that this was due to political aspirations of the country; they play the crucial role in defining what type of memories the society would carry on and defend. In regard to th

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Bentley, Eric. "Writing for a Political Theatre." PAJ: A Journal of Performance and Art 38, no. 1 (2016): 39–52. http://dx.doi.org/10.1162/pajj_a_00294.

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41

Paget, Derek. "The Precariousness of Political Theatre." New Theatre Quarterly 16, no. 4 (2000): 388–90. http://dx.doi.org/10.1017/s0266464x00014135.

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LIKE Holden Caulfield in The Catcher in the Rye, I find myself wanting to ring up ‘old Baz Kershaw’. The insertion of personal history into an academic text that is to be found in The Radical in Performance, in itself radical, inspires this tactic. It also inspires my determination to refer to ‘Baz’ throughout this response. The available alternatives just don't feel right: ‘Kershaw’ carries reminders of the 1950s grammar school that (mis-) shaped me; ‘Professor Kershaw’ seems curiously over-formal in the context of my enjoyment of this book; ‘Barrie Kershaw’ (yes, I saw him once quoted as suc

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42

Etherton, Michael. "African theatre and political action." Wasafiri 3, no. 6-7 (1987): 3–6. http://dx.doi.org/10.1080/02690058708574142.

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43

PESSOA, PATRICK. "For a New Political Theatre." Theatre Research International 42, no. 2 (2017): 229–31. http://dx.doi.org/10.1017/s0307883317000359.

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The first words of Caranguejo Overdrive, spoken by ‘a crab who one day had been a man named Cosme’, encapsulate the fundamental principles guiding the work's creation. Based on an unorthodox ingesting of Josué de Castro – the geographer who proved that hunger is not the fruit of any natural disaster, but rather of an unjust social organization – Glauber Rocha, the filmmaker who made hunger not his theme, but the very engine of his aesthetic – and Chico Science, the musician who revived the Baudelairean image of the ‘rag-picker poet’, Oswaldian anthropophagy, and tropicalism – the contemporary

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Hulton, Dorinda. "Sites of Micro-Political Theatre." PAJ: A Journal of Performance and Art 30, no. 3 (2008): 94–103. http://dx.doi.org/10.1162/pajj.2008.30.3.94.

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Gilbert, Sky. "Political Theatre: Because We Must." Canadian Theatre Review 117 (January 2004): 25–28. http://dx.doi.org/10.3138/ctr.117.007.

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I have been writing political plays for many (almost twenty-five) years. In fact, I find that when I’m interviewed on television or radio (if I’m not careful), I’m much more likely to be introduced as a gay activist than as a playwright. I’ve learned to accept this – it very much goes with the territory. I’m firmly convinced that a significant proportion of Torontonians avoid my plays like the plague. They don’t want to be preached at (who does?) and they’re especially not interested in hearing over and over again that “gay is good.”

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Buckley, Jennifer. "“Spirited Rebellion”: Theatre Workshop, the Living Theatre, and Bernard Shaw." Shaw 45, no. 1 (2025): 14–37. https://doi.org/10.5325/shaw.45.1.0014.

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ABSTRACT This article establishes that Bernard Shaw was a significant, long-term influence upon two of the best-known avant-garde theater companies of the twentieth century: Theatre Workshop and the Living Theatre. Although these two postwar collectives are best known for their collective creation practices and their progressive politics, the author shows how Shaw’s plays and his example set them on long, winding artistic paths that loop back toward GBS at unexpected junctures. More broadly, the author argues that the companies’ engagements with Shaw span the ostensible gaps among multiple mod

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Freeman, Sara. "Gay Sweatshop, Alternative Theatre, and Strategies for New Writing." New Theatre Quarterly 30, no. 2 (2014): 136–53. http://dx.doi.org/10.1017/s0266464x14000256.

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Gay Sweatshop spent twenty-two years producing plays as Britain's first openly gay professional theatre company. Their alternative and political work primarily took the form of author-driven new writing, though experiments with performer-driven work intrigued the company from its earliest cabarets to its late phase of queer solo work under Lois Weaver. In this article, Sara Freeman pinpoints Sweatshop's tenth anniversary new play festival in 1985 as the moment when the company committed to new writing as a strategy for gaining greater legitimacy as a theatre group and as a central mode to enco

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Pereyra, Soledad. "Intimidad, emoción y activismo político en el teatro posmigrante de Sasha Marianna Salzmann." mAGAzin Revista intercultural e interdisciplinar, no. 26 (2018): 14–27. http://dx.doi.org/10.12795/magazin.2018.02.

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As Pavis (2016) argues, intimacy has resurfaced under different forms and names in current theater. This article makes a general introduction to posmigrant theatre in Germany, breaks down some of these forms of intimacy and emotion in theatre studies, and then analyzes its presence and articulation in the monologues of two works by german-language playwright Sasha Marianna Salzmann (n.1985): Muttersprache Mameloschn (2013) and Meteoriten (2016). The examination of the monologues of Salzmann -who is one of the representatives of the so-called German Postmigrant Theatre- exhibits that intimacy i

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HEINRICH, ANSELM. "Shakespeare and Kolbenheyer: Regional Theatre During the Third Reich – a Case Study." Theatre Research International 31, no. 3 (2006): 221–34. http://dx.doi.org/10.1017/s0307883306002197.

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The importance of regional theatre in the grand scheme of theatre history has long been neglected; this even holds true for an area of research which has aroused more historical interest than any other – Nazi Germany. Addressing this desideratum the article investigates the history of a typical provincial theatre – the Städtische Bühnen in the Westphalian city of Münster – with a special emphasis on the repertoire. The author examines how far the regime was able to implement its demand for a specifically political theatre and relates his findings to other German playhouses. The article argues

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Toome, Hedi-Liis. "THEATRE AS COUNTER-HISTORY IN ESTONIA: THE CASE OF “BB AT NIGHT”." Culture Crossroads 14 (November 9, 2022): 25–36. http://dx.doi.org/10.55877/cc.vol14.88.

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The theatres of Estonia celebrated the centenary of Estonian Republic by staging performances depicting different decades of the country’s history. The article dis - cus ses one of these performances “BB at Night” that staged the 1940s. The per formance is based on a novel of the same title that tells the story of Berthold Brecht’s journey to Finland during the Second World War. The aim of the article is to show – by describing three particular scenes from the performance and using the theories of Jacques Rancière, more precisely his notion of dissensus to analyse these scenes – how a performa

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