Academic literature on the topic 'Rhapsodic Theatre'
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Journal articles on the topic "Rhapsodic Theatre"
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Lach, Mariusz. "Amatorskie realizacje teatralne dramatów Karola Wojtyły." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 215–30. http://dx.doi.org/10.18290/rh.2068s-15.
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Amateur theatre circles play an important role in promoting the ideas contained in Karol Wojtyła’s dramas. Our God’s Brother and In front of the Jeweller’s Shop, as well as various poetic works based on Wojtyła’s poetry, have permanently entered the repertoire of smaller theatre groups. Some of these, such as “Droga” from Poznań, “Teatr Karola” from Gliwice or “Hagiograf” from Cracow, subordinate their existence and actions to the goal of promoting the thoughts and works of the Polish Ppope. The variety of forms, from rhapsodic performances to musicals, means that the ideas that John Paul II left in his writings can still find new recipients today.
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Dziedzic, Stanisław. "„Zapowiada się nadzwyczajny aktor”. Karol Wojtyła w podziemnym Teatrze Rapsodycznym." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 153–71. http://dx.doi.org/10.18290/rh.2068s-11.
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Karol Wojtyła’s decision to start Polish Philology at the Jagiellonian University after graduating from the State Marcin Wadowita Secondary School was no surprise to those who knew him in Wadowice. His theatrical interests and talents, mainly acting and directing, were widely known. He helped found a high school theatrical group, acted in the Amateur Universal Theatre run by Mieczysław Kotlarczyk, and on the stage of the Catholic House. His mentor in the field of the theatre was Mieczysław Kotlarczyk. As a secondary school student, Wojtyła had already started writing poetry, and possibly his Beskid Ballads had already been created. He wanted to become an actor, but also developed as a writer. Cracow, with its creative environment and student peers, supported his theatrical and literature endeavours. Besides his university studies, he also developed his acting skills in the Studio 39 theatre group. During the Nazi occupation of Poland, Studio 39 members continued their underground activities. After Mieczysław Kotlarczyk arrived in Cracow in 1941, the Studio was transformed into the Rhapsodic Theatre. Wojtyła participated in all 7 premiere performances. With his talent and acting capabilities, together with his deep theatrical knowledge, he was a rising hope for his underground companions in the field of acting. His skills were appreciated by such famous actors as Juliusz Osterwa. Osterwa, the chief Polish actor of those times, stated “We seem to have an extraordinary actor” after Juliusz Słowacki’s Król-Duch was performed with Wojtyła starring. He intended to employ Wojtyła after the war. However, the time to make definitive choices finally arrived and Karol Wojtyła entered the Higher Seminary for Priests in 1942. His rhapsodic experience and literary achievements were to be the measurement of his charismatic call to millions of followers and believers as the future Pope.
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Similar, Anca. "Rhapsody of Modern Drama through." Theatrical Colloquia 9, no. 2 (December 1, 2019): 138–53. http://dx.doi.org/10.2478/tco-2019-0021.
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Abstract With the Lazarillo published anonymously in Spain in the 16th century, the romantic adventure changed paradigm and emancipated itself from the novels of chivalry. For Jean-Pierre Sarrazac, this picaresque novel brings a new voice to the theatre and modern drama that will evolve into a fundamental novelisation that will take off from 1880. This text was for a long time attributed to the humanist Diego Hurtado de Mendoza y Pacheco and the list of suspects is long akin to this “rhapsodic impulse” those multiple voices that each give a different interpretation to the same text, and that Jean-Pierre Sarrazac exhibits in his book Poétique du drame moderne, de Ibsen à Jean-Marie Koltès (2012). In this investigation of the Lazarillo, the modern drama, from the death of Hurtado in Madrid in 1575, will explore in substance and form the paradoxical question of drama in opening the doors of perception to fictional characters who are also gifted with life, if not our life, in a world where the true and the false mix while the opposing forces carry humanity towards a destiny worthy of Orwell’s 1984, but in the echo of the drama, the voice of the rhapsodes continues to resonate.
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Luber, Steve. "The Theatre of a Two-Headed Calf: Simulacral Performance and the Deconstruction of Orientalism." Theatre Survey 54, no. 1 (January 2013): 87–106. http://dx.doi.org/10.1017/s0040557412000427.
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In the Theatre of a Two-Headed Calf's production of Drum of the Waves of Horikawa, Jess Barbagallo plays the curiously named Eesogay Yougayman, bedecked in a flowing black coat, a wig fit for Ziggy Stardust, and a badgerlike streak of black makeup across her face. The live music falls somewhere between the rhythmic, repetitive structures of kabuki and the more chaotic yet just as percussive style of punk rock, allowing Yougayman (implied to be a traditionally male character) to strut and plunge with violent swagger. She stalks the stage and falls to her knees before the object of her affection, Otane, played by Heidi Shreck, who wears a blood-red kimono and combat boots. Yougayman stares lasciviously into the audience, describing how she abandoned her studies as a samurai to see Otane: “My sickness was a ruse and yet not entirely so, for I was suffering from the malady called love. And you were the cause, Otane!” An exaggerated, almost parodic struggle ensues, in which Otane is caught by Yougayman, whose tongue wags in rhapsodic anticipation of the sexual conquest she is about to force upon Otane as the music and guttural “huhs” from the musicians heighten to a rough, almost unbearable climax.
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Jankosz, Magdalena, and Wiesław Przyczyna. "Rapsodyk na ambonie? Jan Paweł II na placu Zwycięstwa w Warszawie w świetle założeń Teatru Rapsodycznego Mieczysława Kotlarczyka." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 249–61. http://dx.doi.org/10.18290/rh.2068s-17.
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This article discusses John Paul II’s speech at Victory Square in Warsaw on 2 June 1979, during the Pope’s first pilgrimage to Poland. The subject of the research is the question of whether the Pope, when presenting his homily, used his experience and skills gained in Mieczysław Kotlarczyk’s Rhapsody Theatre and whether he was a rhapsodian himself. The first part of the article describes the Rhapsody Theatre’s ideological assumptions, while the second presents the way the homily by Pope John Paul II was delivered, and, finally, the third part shows which parts of the papal speech coincided with Kotlarczyk’s artistic programme. Finding these similarities allows us to say that John Paul II was indeed a rhapsodian, i.e. a minister of the word.
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Badiou, Alain. "RHAPSODY FOR THE THEATRE: A SHORT PHILOSOPHICAL TREATISE." Theatre Survey 49, no. 2 (October 23, 2008): 187–238. http://dx.doi.org/10.1017/s0040557408000124.
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It is as good a division of the world as any other to observe that there are and have been societies with theatre and others without theatre. And that in societies that know this strange public place, where fiction is consumed as a repeatable event, this has always met with reticence, anathema, major or minor excommunications, as well as enthusiasm. More specifically, next to the spiritual suspicion that befalls theatre, there is always the vigilant concern of the State, to the point where all theatre has been one of the affairs of the State and remains so to this day!
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Bosteels, Bruno. "TRANSLATOR'S INTRODUCTION: STAGING BADIOU." Theatre Survey 49, no. 2 (October 23, 2008): 183–86. http://dx.doi.org/10.1017/s0040557408000112.
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Rhapsody for the Theatre: A Short Philosophical Treatise, first published in French in 1990, occupies a unique spot in Alain Badiou's oeuvre. Part theory and part theatre, or at least prototheatre, it certainly can be read alongside other books from the same period, especially Handbook of Inaesthetics and Metapolitics, devoted respectively to the truth procedures of art and politics that function as two of the four conditions of philosophy according to Badiou. Of the other two conditions, mathematics is treated in Number and Numbers and Briefings on Existence: A Short Treatise on Transitory Ontology, whereas love is the only truth procedure not to receive a book-length investigation. Even in the case of Badiou's treatment of love, a text such as “The Scene of the Two” resonates with the present text due to the importance given to the production of a “scene” for the amorous couple. In addition to opening up a fascinating dialogue with this theoretical treatment of the four conditions of philosophy, Rhapsody for the Theatre also and at the same time can serve as the ideal accompanying piece for Badiou's work as a playwright, most notably the Ahmed tetralogy that comprises Ahmed le subtil, Ahmed philosophe, Ahmed se fâche, and Les Citrouilles and that was staged in a quick creative sequence starting just four years after Rhapsody for the Theatre was published. In fact, one of the most intriguing aspects of this treatise is the way in which it moves between philosophy and theatre to the point of opening up a space of indiscernibility between the two.
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Toporišič, Tomaž. "Collectives, Communities and Non-Hierarchical Modes of Creation from the 1970s till the 1990s." Theatre and Community 9, no. 2021-1 (June 23, 2021): 18–51. http://dx.doi.org/10.51937/amfiteater-2021-1/18-51.
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Within the twenty-year period that coincides with the first twenty years of the Glej Theatre, the essay concentrates on the formation and transformations of non-hierarchical theatre communities, or, in the words of one of its founders, Dušan Jovanović, theatrical tribes. Using historical and present-day examples, the author will try to map the specific devised theatrical procedures producing what Badiou names “a generic vacillation”: “Theatre turns every representation, every actor’s gesture, into a generic vacillation so as to put differences to the test without any supporting base. The spectator must decide whether to expose himself to this void, whether to share in the infinite procedure. He is summoned, not to experience pleasure (which arrives perhaps ‘on top of everything’, as Aristotle says) but to think” (Rhapsody, 124).The essay strives to answer the following questions: How did the Slovenian experimental and non-institutional performing arts scene (as a reaction to the hierarchical structure of repertory theatres) create different non-hierarchical modes in relation to creating the performances, the theatre’s artistic direction and forming temporary communities with emancipated audiences? To which models did this scene turn – then and today – to develop its own logic of devised and collaborative theatrical tactics? And lately: To what extent have those different artistic collaborative tribes changed the theatrical landscape in Slovenia, Yugoslavia and elsewhere?
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Denkova, Lidia, and Alain Badiou. "Rhapsody for the Theatre. Between Dance and Cinema." Sledva : Journal for University Culture, no. 39 (August 20, 2019): 4–13. http://dx.doi.org/10.33919/sledva.19.39.1.
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A chapter from Alain Badiou’s dialogic book (with Nicolas Truong) on the condition of theatre today, its merging borders with other arts and media and its challenged perspectives tomorrow. This philosophic pamphlet is based on a public talk given by the famous philosopher at the Avignon Theatre Festival. Translated in Bulagrian by prof. Lidia Denkova.
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Krasner, David. "Rhapsody for the Theatre by Alain Badiou." Theatre Journal 66, no. 3 (2014): 489–90. http://dx.doi.org/10.1353/tj.2014.0087.
Full textDissertations / Theses on the topic "Rhapsodic Theatre"
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Matson, Cole C. E. "Towards a eucharistic theatre : the theatrical theologies of the Reduta, the Rhapsodic Theatre, and Grotowski's Lab." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/12006.
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This thesis explores the use of eucharistic language in the theatre theories of three different mid-20th-century Polish theatre companies--the Reduta Theatre, the Rhapsodic Theatre, and the Laboratory Theatre--especially as expressed in the writings of their respective primary founders: Juliusz Osterwa, Mieczysław Kotlarczyk, and Jerzy Grotowski. The thesis also describes how the Rhapsodic and Laboratory Theatres inherited different elements of the Reduta tradition, and how those two diverging branches of the Reduta's legacy have affected contemporary theatre. In addition, the thesis examines how different 20th-century theatre theorists have related the eucharist to theatre, and evaluates the legitimacy of the claim that religious rituals such as the eucharist can and ought to be replaced by secular theatrical rituals. Special attention is paid to Carl Lavery's three views of the sacred: secular, theological, and a/theological. Alexander Schmemann's conception of the eucharist is used to correct Lavery's presentation of the theological sacred and to argue for the possibility of a Christian sacred theatre, or a "eucharistic theatre." The thesis defines the concept of a eucharistic theatre; demonstrates the extent to which the Reduta, Rhapsodic, and Laboratory Theatres meet this definition; and suggests some ways in which a eucharistic theatre may be created today.
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Piazza, Laura. "Il verso dell uomo. Sul teatro di Mario Luzi." Doctoral thesis, Università di Catania, 2012. http://hdl.handle.net/10761/943.
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Il lavoro si propone di ripercorrere l intero corpus teatrale di Luzi generatosi, dagli anni settanta, da quell essenza dialogica che in maniera sempre meno velata caratterizza le sue opere poetiche. Attraverso i capitoli dedicati in particolar modo ai tre capolavori Libro di Ipazia, Rosales e Hystrio, si esamina la riflessione luziana sul tragico. Il poeta, memore delle teorie di Steiner e Szondi oltre che delle prospettive teologiche derivate dal pensiero di Teilhard de Chardin, sostituisce alla tragedia propriamente detta, impraticabile in epoca post-moderna, il concetto di tragico spreco , per cui la croce delle vittime, taciuta e apparentemente cancellata dalla storia, diviene protagonista di un genere che, pur mutando in stile e convenzioni, porta con sé il medesimo lamento puro e selvaggio del pensiero tragico sull inumanità dell esistenza. Il lavoro, altresì, sviluppa, attraverso documenti inediti, il rapporto di fertile interscambio tra la drammaturgia luziana e le teorie pedagogiche e drammaturgico-spettacolari di Orazio Costa Giovangigli (amico del poeta e regista in più occasioni dei suo testi teatrali). Si ricostruisce così un sodalizio che ha attraversato il teatro esistenzialista (italiano ed europeo) e mutuato molti degli aspetti estetico-filosofici (nei drammi di Luzi) e spettacolari (nella pratica scenica di Costa) del Teatro Rapsodico. Luzi e Costa, sostenendosi vicendevolmente, hanno consacrato la loro arte alla priorità della Parola Poetica, del verso dell uomo , del verbo che sin dalla Genesi abbiamo imparato a considerare espressione più autentica della nostra umanità (e divinità). Lo studio del teatro di Luzi può essere un primo passo verso una riconsiderazione più articolata e attenta delle esperienze controcorrente della scena teatrale italiana dal secondo dopoguerra in poi, periodo in cui ha esercitato il proprio dominio un avanguardia guidata dall odio per la parola, con funeste conseguenze non solo sul piano delle arti performative rilevabili ancora oggi. Consapevole che la natura drammatica in fondo insita in certa sua lirica ha trovato un eccellente decantazione nella misura teatrale, Luzi si dedicò negli ultimi anni di vita pressoché esclusivamente alla scrittura drammatica quasi dimostrando un incapacità a tornare indietro, a lasciar nuovamente disperdere, dopo averlo catturato nella struttura teatrale, l intrigo delle voci. Contro la minaccia di abumanizzazione della nostra epoca Luzi ha così esercitato la sua missione di scriba e la sua visione del teatro come rito potentemente umano, come arricchimento di coscienza e di conoscenza per chi ne è l interprete e per chi ne è lo spettatore.
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Padovani, Delphine. "Le théâtre du monde chez les auteurs dramatiques contemporains francophones. Valère Novarina, Pierre Guyotat, Didier-Georges Gabily, Olivier Py, Joël Pommerat, Daniel Danis." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30029/document.
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Cette thèse porte sur les caractéristiques du théâtre du monde telles qu’elles se manifestent dans différentes œuvres dramatiques contemporaines francophones. Il s’agit d’envisager sept pièces de ce répertoire comme autant d’images du monde, dans la mesure où elles convoquent les emblèmes de la vie terrestre : humaine, animale, végétale, et problématisent leurs interactions dans un espace-temps universel. Dans une partie introductive, on rassemble et commente les principales contributions universitaires à la réflexion sur la notion historique de théâtre du monde. Dans la partie principale, on observe les prolongements contemporains de la métaphore à travers l’étude des pièces du corpus. Une présentation générale des moteurs et motifs d’écriture des dramaturges introduit chaque analyse de texte, basée sur une grille de lecture calquée sur les catégories constitutives du drame : personnages, espace et temps, actions, didascalies. Le corps de la thèse est ainsi conçu comme l’exploration de sept déclinaisons du théâtre du monde, partant de la représentation la plus abstraite pour aboutir à la plus organique. Une synthèse boucle ce parcours en soulignant que les pièces dépendent de trois modèles de composition, déterminant autant de combinaisons des catégories dramatiques. Cette classification dévoile enfin l’ambition qui génère chaque projet d’écriture. En conclusion, il apparaît que le théâtre du monde dont on s’accorde généralement à penser qu’il est un topos daté évoquant la théâtralité de la vie humaine, est un cadre générique assez fort pour résister à la poétique du drame contemporain, assez vaste pour accueillir les inventions dramaturgiques les plus singulièresThis thesis deals with the characteristics of the theatre of the world metaphor, as they appear in several contemporary french-speaking plays. Seven plays have been selected as images of the world, since they summon various emblematic elements of life on earth: humans, animals and flora, and emphasize their interaction in a universal surroundings. Firstly, the principal academic contributions concerning the historical notion of theatre of the world are gathered and commented. The main part of the research consists of the demonstration of the metaphor's contemporary extensions, through the study of the corpus. The analysis of each play is preceded by a presentation of its author's writing motivations and motives. Then, the play itself is examined carefully with the help of a reading grid which focuses successively on the dramatic categories : characters, space and time, actions, stage directions. Thus, the thesis's body is built as an exploration of seven variations of the theatre of the world, beginning with the most abstract one and leading to the most organic one. A synthesis ends this journey, pointing out that the plays match three composition patterns, which induces many combinations of the dramatic categories. This classification unveils the ambition at the origin of each writing project. In conclusion, it appears that the theatre of the world, generally considered as an old topos which refers to the theatrality of human life, is a framework strong enough to stand up to the poetics of comtemporary drama, and vast enough to house the most singular dramaturgic inventions
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Le, Guen Fanny. "Belles de Jazz. Voix et violence des figures féminines dans le théâtre de Koffi Kwahulé." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040221.
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Koffi Kwahulé est l'héritier d'une culture littéraire, artistique et théâtrale ivoirienne.Exilé en France depuis trente ans, son écriture s'élabore dans une tensiontransatlantique et se veut constitutive d'une mythologie contemporaine, féminine etnoire. L'ambition rhapsodique de cette dramaturgie est de déconstruire, à travers lavoix et la violence de puissantes figures féminines héritées des personnagesarchétypiques du Théâtre Ivoirien, tant le drame classique que les représentationshistoriques et culturelles qui gangrènent les relations internationales. Les figuresféminines en Belles de jazz donnent le tempo à cette dramaturgie qui comme le ThéâtreNoir nord-américain du milieu du siècle dernier, développe une rhétorique du jazz aucoeur de la mythologie de l'auteurKoffi Kwahulé inherited from the Ivorian literary, artistic and theatrical culture.However, as he has been living in exile in France for thirty years, a transatlantictension pervades his writing and thus creates a contemporary black femininemythology. The voices and violence of powerful female figures that mirror archetypesin Ivorian Theatre, create a rhapsody dimension in this dramaturgy, which is aimed atdeconstructing the classical drama and the historical and cultural representations thatcorrupt international relations. Female figures in Belles de Jazz give the dramaturgyits tempo and make it develop into a jazz rhetorics deeply rooted into the author's ownmythology, similar to mid-twentieth century Afro American theatre
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CHANG, Hui-ni, and 張惠妮. "Music theatre : Rhapsody on a Windy Night." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/87518665110055703768.
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Yu, Jia-Ling, and 俞佳伶. "Yangqin Pieces and Its Application in Music Theater－Fantasia in b minor－A Tribute to Chopin and Rhapsody." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/45625508781201354109.
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碩士中國文化大學
音樂學系中國音樂組
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Music theater, a term introduced in 20th century, originates from Germany. In contrast to traditional opera, music theater is presented with the application of new musical and dramatic concepts as well as an unconventional performing style. A variety of experimental techniques are also added to works of music theater as an attempt to go beyond the traditional approaches. In recent years, as performing style starts to shift, many works have begun to be presented with the addition of plot, stage lighting, choreography and characters, adding layers to the performance. Moreover, many musicians and performing arts groups are eager to embrace the music theater, which, in turn, increases acceptance from the audience. However, the combination of music theater and solo music is relatively rare. This study presents an interpretation and analysis of Xu Xue-Dong’s “Fantasia in b minor－A Tribute to Chopin” and Wang Dan-Hong’s “Rhapsody” by looking into their music forms, creation background and musical elements. By incorporating the concept of music theater into musical interpretation, it is hoped that this thesis helps explore the possibilities for crossover between Yangqin solo and other forms of arts.
Books on the topic "Rhapsodic Theatre"
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Badiou, Alain. Rhapsodie pour le théâtre: Court traité philosophique. Paris: Impr. nationale, 1990.
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Strohm, Reinhard, ed. The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.001.0001.
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The book, derived from the Balzan musicology project ‘Towards a global history of music’, describes cultural traditions and communication patterns of music, dance and theatre in the world region between India and the Mediterranean in the last 2000 years. The new metaphor of the ‘Music Road’—the western half of the ‘Silk Road’—refers to the travels of musical songs, instruments and ideas across both space and time. The book has an introduction and 16 chapters, each by a different author. Highlighted are the following cultural traditions: ancient Gandhāra (first centuries ce); traditions of the Alexander legend; the musical philosophy and practice of Muslim societies; colonial India and the West; Greek music and nationalism (19th–20th centuries); travelling music-theatre companies in the Eastern Mediterranean; the ‘Gypsy rhapsody’ in European art music. The keynote chapter by Martin Stokes reviews the work of Villoteau and Lachmann, advocating a fusion of historical thought and ethnomusicology. The book offers case studies not only on music per se, but also on fine art, dance, musical theatre, on the theology, philosophy, historiography and literature of music, and on East–West relations in the musical practice of colonial and modern times. It is argued in the introduction and implied elsewhere that the musical culture of this world region, and its interactions with the West, have always been on the move, that its diversities and disruptions are counterbalanced by numerous internal and external linkages, and that the reifying term of ‘orientalism’ might be replaced by ‘the East–West imagination’.
Book chapters on the topic "Rhapsodic Theatre"
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"Platonic Theater:." In Rhapsody of Philosophy, 35–69. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gp24w.5.
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"1 Platonic Theater Rigor and Play in the Republic (Genette and Lacoue-Labarthe)." In Rhapsody of Philosophy, 35–69. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271051338-003.
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Taxidou, Olga. "Epic, Tragic, Dramatic Theatre and the Brechtian Project." In Greek Tragedy and Modernist Performance, 119–62. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474415569.003.0005.
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This chapter questions the notion that Brecht’s Epic theatre is constructed solely in opposition to the Greek model of tragedy. In line with more recent and nuanced readings of the relationships between tragedy and epic, it presents Brecht’s attacks on what he perceived as Greek tragedy, through his well-documented mis-readings of Aristotelianism, as part of the modernist attempt to reclaim epic as a potentially radical form (Eisenstein), at once popular (oral, medieval etc) and modernist (montage, non-linear, stylised). Brecht’s project in this context is read as parallel to recent attempts to reclaim the epic tradition for performance. Through the work of Walter Benjamin on Brecht parallels are drawn between the Sage, the Rhapsode and the Epic Performer. Again, as throughout this book, Plato appears as a performance theorist rather than Aristotle. Through a fantastic dialogue between Brecht’s Epic Mothers and tragedy’s consummate mother, Medea, parallels are drawn between the tragic and the epic protagonist, and between the categories of tragic, epic, dramatic and post-dramatic theatre, creating a genealogy for the notion of post-dramatic theatre in Greek tragedy itself. These ideas come together in a close reading of another epic/tragic anti-mother, Antigone, in Brecht’s first of his famous models of epic theatre, The Antigone-Model.
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Hardwick, Lorna. "Voices, Bodies, Silences, and Media." In Epic Performances from the Middle Ages into the Twenty-First Century, 558–72. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0037.
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This essay discusses diverse modes and contexts in recent performances of translations and adaptations of Homer’s Iliad and Odyssey, with special emphasis on the interplay between audience experiences, aesthetics, and contexts that generate moments of heightened receptivity. Radio is a key medium because of its creation of interplay between the aural and visual imaginations and its potential for transferring these to the stage. Analysis of the physical aspects of speech enhances comparisons between radio and different types of live theatre, including the rhapsode or solo performer, the ensemble performance with minimalist staging, and the ‘epic’ staging with full cast and scenery. The versatility of epic in performance demonstrates its capacity to accommodate and sustain changes in poetics, performance styles, and media and to involve spectators and listeners in responding to and transforming perceptions of differing artistic, social, and political environments.
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Carlin, Richard, and Ken Bloom. "Government Worker." In Eubie Blake, 253–82. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635930.003.0009.
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This chapter discusses Eubie’s employment by the WPA as a composer for the Federal Theatre Project’s variety shows. The chapter also explores Eubie’s partnership with new lyricist, Milton Reddie; Reddie and Blake’s work on the show, Swing It; the show’s reception on Broadway; Reddie and Blake’s attempts to interest black bandleaders in the work of black songwriters; their formation of an association to promote black songwriters’ work; and their formation of a song-writing service for would-be popular-song tunesmiths. The chapter also examine how, inspired by the success of Gershwin’s Rhapsody in Blue, Blake wrote a few piano works that wed a classical harmonic approach to his own syncopated melodies; the illness and subsequent death of Blake’s wife Avis, and its impact on him; Blake’s reunion with Andy Razaf to compose the revue Tan Manhattan, and their attempts to have it performed; Blake’s hiring by the USO to tour American camps; difficulties on the road touring the South; and his first meeting with Marion Gant Tyler, who would become his second wife.
Conference papers on the topic "Rhapsodic Theatre"
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Pskhu, Ruzana, Anna Martzeva, Nadezhda Danilova, and Galina Zashchitina. "The Spiritual and Moral Dimension of Modern Theatre The Philosophical and Linguistic Analysis of Rhapsody for the Theatre by A. Badiou." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.286.
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