Relevant bibliographies by topics / Satire Theatre

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters
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Academic literature on the topic 'Satire Theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Satire Theatre"

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Vigouroux-Frey, Nicole. "Opening Up Doors of Perception: Stanislav Stratiev and Yordan Radichkov." Theatre Research International 25, no. 2 (2000): 133–46. http://dx.doi.org/10.1017/s0307883300012955.

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The principle of a new professional theatre was decided in Sofia, in 1956:the State Theatre of Satire. Founded in 1957, its aim was to promote comedy and satire. For obvious reasons, party politics could not have allowed its creation earlier in years when satire was not considered serious enough; but in the late 1950s official aesthetics was beginning to crumble.
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Tsihan, Xia. "INTERPRETATION OF MUSICAL GENRE IN THE WORKS OF R. IGNATIEV AND K. BREITBURG." Arts education and science 1, no. 2 (2021): 121–25. http://dx.doi.org/10.36871/hon.202102015.

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Theater in Russia has for a long time neither cultivated nor encouraged the pursuit of entertainment and commercial success. Perhaps that is why, the first attempts to integrate the musical into the Russian theater environment ended in failure. "My Fair Lady" by F. Loewe, staged at the Stanislavsky and Nemirovich-Danchenko Theatre, "Avtograd–1929", staged at the Satire Theater and the "Chicago" musical, after several performances, were removed from the repertoire or, like enterprise productions, ceased to exist. The purpose of this research is to determine the reasons for the growing popularit
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Portnoy, Edward. "Modicut Puppet Theatre: Modernism, Satire, and Yiddish Culture." TDR/The Drama Review 43, no. 3 (1999): 115–34. http://dx.doi.org/10.1162/105420499760347360.

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Mullaly, Edward. "The Saint John Theatre Riot of 1845." Theatre Research in Canada 6, no. 1 (1985): 44–55. http://dx.doi.org/10.3138/tric.6.1.44.

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The Saint John theatre riot of 2 April 1845 was caused by Henry W Preston's production of a lost political satire entitled The Provincial Association, written by a Fredericton author and newspaper editor, Thomas Hill. While newspaper descriptions of the riot reflect largely on the personal animosities of the writers involved, the event itself provides an early Canadian illustration of theatre's power to move its audience to emotional extremes.
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Pucherová, Dobrota. "Cabaret Theatre in Communist Czechoslovakia 1960s–1980s as Political Resistance: The Case of Milan Lasica and Július Satinský." Miscellanea Posttotalitariana Wratislaviensia 5 (June 12, 2017): 39–53. http://dx.doi.org/10.19195/2353-8546.1(5).4.

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The article analyses the cabaret theatre of Milan Lasica 1940– and Július Satinský 1941–2002, also known as L+S, in socialist Czechoslovakia in the 1960s–1980s as a form of resistance against com­munist totalitarianism. Rather than conventional political satire, which would have been impossible at the time, their texts subverted the political discourse by focusing on the word, the prime instrument of state propaganda, to expose its falseness through linguistic games and free play with associations. The essence of their satire, which can be most closely described as a mixture of theatre of the
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Holdbrook-Smith, Kobna. "What is Black Theatre? The African-American Season at the Tricycle Theatre." New Theatre Quarterly 23, no. 3 (2007): 241–52. http://dx.doi.org/10.1017/s0266464x07000140.

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Kobna Holdbrook-Smith was a member of the repertory company formed by artistic director Nicolas Kent for the 2005–2006 African-American season at the Tricycle Theatre in north London. That company also included Jenny Jules, Joseph Marcell, Lucian Msamati, Carmen Munroe, and Nathan Osgood. In Walk Hard – Talk Loud by Abram Hill, a play originally produced in 1944 and set in New York in the late 1930s, Holdbrook-Smith played a young boxer who faces racism. In Lynn Nottage's contemporary satire Fabulation, he took on dual roles – the heroine's husband who absconds with her wealth, and the gentle
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Pierson, Colin M. "Portugal's Geraçao de 70: Drama influenced by a Changing World." Theatre Research International 20, no. 1 (1995): 1–6. http://dx.doi.org/10.1017/s0307883300006970.

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The ‘Generation of 1870’ produced some of Portugal's best writers. In the theatre, two plays effectively broke the mould of playwriting and ended an era of overly moralistic and simplistic drama. The two plays could not have been more different: Os Lazaristas was a virulent attack on the Church while Viagem à roda da Parvónia was a satire on the middle class.
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Kalidasan, R., and R. K. Jaishree Karthiga. "Girish Karnad's Hayavadana - A Setting for Sacred and Profane." Shanlax International Journal of English 7, no. 4 (2019): 57–61. http://dx.doi.org/10.34293/english.v7i4.599.

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Hayavadana, a multiplex play, offers various binary themes for discussion. By combining the indigenous Yakshagana and the western Brechtian Epic theatre practices, Girish Karnad has created a unique theatre display, presenting it as a social and religious satire that point to the persistent pursuit of the humanity to achieve perfection. The plot and the sub-plot of the play get interlocked by raising questions on identity and the nature of reality. The dramatist intentionally effects a dynamic communication between the audience and the performance, noting that the audience too are not separate
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Vorobyeva, Maria. "Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil." European Journal of Humour Research 9, no. 1 (2021): 155–74. http://dx.doi.org/10.7592/ejhr2021.9.1.vorobyeva.

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Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fa
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Meisner, Natalie, and Donia Mounsef. "Gender, Humour and Transgression in Canadian Women’s Theatre." Prague Journal of English Studies 3, no. 1 (2014): 47–63. http://dx.doi.org/10.2478/pjes-2014-0017.

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AbstractAre humour and laughter gender-specific? The simple answer, like most everything that is ideological, is “yes”. Many feminists in recent years have grappled with the question of humour and how it is often the site of much contestation when it comes to women using it as a tool of transgression. This paper probes the seemingly timeless antipathy between humour and representations of femininity through recourse to performance and theories of the body. This article holds the term “woman” up to scrutiny while simultaneously examining the persistence of both critical and philosophical recalc
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Dissertations / Theses on the topic "Satire Theatre"

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Guy, Bette Margaret. "Aristophanes to Fo : conventions of political satire in Western theatre." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16499/.

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Aristophanes to Fo is a study of the principal comedic conventions of Aristophanes' political satire and their relationship to contemporary political satire. A template of these principal conventions is tabulated. This is then compared to, and contrasted with, conventions used in subsequent plays in the genre of political satire, including one written as the practice component of this exegesis. This process determines the influence of Aristophanic conventions on political satire from 4th century BCE Greece to the modern era. There is an analytical emphasis on three 20th century plays as case s
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Ryan, Reilly Judd. "Where Are Those Good Old Fashioned Values? Family and Satire in Family Guy." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5583.

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This paper explores the presentation of family in the controversial FOX Network television program Family Guy. Polarizing to audiences, the Griffin family of Family Guy is at once considered sophomoric and offensive to some and smart and satiric to others. Though neither judgment of the show is necessarily mutually exclusive, the intention of this study is to reconcile those disparate viewpoints in order to measure the show's purposefulness. After all, if Family Guy succeeds in its satire, it is full of social purpose, offensiveness notwithstanding. This thesis focuses on arguably the main poi
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Vrtis, Catherine Ann Peckinpaugh. "Gentleman Johnny Plays War: John Burgoyne and The Blockade of Boston." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1151.

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John Burgoyne, a British general during the American Revolution, is best known for his defeat by the Continental Army at Saratoga. In addition to serving as a general,Burgoyne was a playwright. While in Boston during the blockade following the Battle ofBunker Hill Burgoyne combined his interests, writing a satire of the war. The Blockade of Boston, Burgoyne's play, was first presented as an afterpiece to a production of The Busybody on January 8, 1776 (Silverman 292).Accounts of the performance differ in detail, but the central event is consistent: during the performance a soldier walked out o
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Marcus, Reker Katherine B. ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/876.

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This thesis proposes a critical study of the theoretical framework of Urinetown, asking the question of whether or not the show is truly a “Brechtian musical,” utilizing the tenets and beliefs of Bertolt Brecht. Set in a quirky, Gotham-like town where you have “to pay to pee” due to a severe drought, Urinetown follows a cast of absurdist characters as they navigate a society plagued by the perils of big business, ecological devastation, and the inequalities of capitalism. While the show appears to make a relevant social commentary, supporting a righteous rebellion to overthrow the evil Urine G
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Montecillo, Victoria. "The Naïve Ingénue, The Plucky Everyman's Hero, and the Ingénue Gone Awry: The Satirical Deconstruction of Theatrical Character Tropes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/868.

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This thesis looks to explore Urinetown: The Musical through a critical and theoretical framework, analyzing the show's presentation and deconstruction of theatrical character tropes through musical satire. Using the theories of theatre theorists such as Bertolt Brecht, Peter Brook, and Augusto Boal, this thesis discusses the use of theatre as a device for political and social commentary. Additionally, this thesis focuses more specifically on the show's character of Penelope Pennywise as a new kind of character in the theatre: an "ingénue gone awry," within the context of approaching a performa
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Hundley, Jennifer Jones. "The Process of Creating a Satirical Story of Richmond, Race and Resistance." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/126.

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My thesis covers the details of the development of play Carry Me! and the opportunity I had to explore Anne Bogart's Viewpoints as an approach to devising theatre. I express the challenges, the choices, the process and the presentation of my experience in the project. The subject matter of the script is based on a professional production that failed on Broadway in February of 1968. Carry Me Back to Morningside Heights by Robert Alan Aurthur was Sidney Poitier's directorial debut and starred Louis Gossett, Jr. and Cicely Tyson. The basic plot is a satire about race and role reversal but the ove
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Augier-Grimaud, Johana. "Théâtre et théâtralité dans le Satyricon : la quête d'un nouveau genre." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040132.

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La présente étude revient sur le concept de théâtralité souvent employé à propos du Satyricon pour tenter d’enpréciser les manifestations et les modalités. Car derrière l’apparente simplicité du terme et la banalisation de sonemploi à propos de cette oeuvre, se cache une pluralité de procédés. La théâtralité du Satyricon revêt trois formes.Elle se définit spontanément comme la réutilisation de codes propres aux genres dramatiques comiques auxquelsPétrone emprunte situations, thématiques et procédés linguistiques. Cette théâtralité première est complexifiéepar son ancrage dans un univers narrat
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Daniels, Robert McLane Knight. "Murder at the Palace Theater." Cleveland State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=csu1525359384485044.

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Pohli, Carol M. "The feminization of wit : satire by British women writers, 1660-1800 /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299006501.

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Wellnitz, Philippe. "La satire et le grotesque dans l'oeuvre theatrale de friedrich durrenmatt." Toulouse 2, 1992. http://www.theses.fr/1992TOU20077.

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Cette recherche est la premiere synthese etudiant l'ensemble des 23 pieces theatrales de l'auteur dramatique suisse friedrich durrenmatt (1921-1990). Le premier chapitre de la these est consacre a la discussion theorique des concepts satire et grotesque, en distingant le "style" du "genre" (satarique grotesque). La satire est definie comme une forme de theatre comique qui demasque et denonce a divers degres differents abus a l'aide d'une norme en filigrane. Le grotesque est compris ici comme oscillation entre deux "poles" (p. Ex tragique et comique), expression d'une incertitude globale. Le de
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Books on the topic "Satire Theatre"

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Durov's pig: Clowns, politics, and theatre. Theatre Communications Group, 1985.

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Bogad, L. M. Electoral guerrilla theatre: Radical ridicule and social movements. Routledge, 2005.

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Fielding's burlesque drama: Its place in the tradition. Edinburgh University Press, for the University of Durham, 1987.

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Spyropoulos, Ēlias S. Aristophanēs: Satira, theatro, poiēsē. Paratērētēs, 1988.

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Juvenals Irrtum: Über die Antinomie der Satire und des politischen Kabaretts. Lang, 1985.

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Divadlo plné paradoxů: Příběh divadla satiry, 1944-1949 a nejen jeho. Panorama, 1990.

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Machejko, Wiesław. Z ikrą i pod prąd, czyli, W krainie Pstrąga: Piosenki, skecze, monologi, żarty, anegdoty, wiersze, wspomnienia, recenzje, paszkwile, donosy, laurki, anonimy, parodie, fotografie, karykatury, obrazy, rysunki, raptularz, epitafia : Studencki Teatr Satyry Pstrąg od frontu i od kulis na tle Łodzi akademickiej 1945-1967. Dom Wydawniczy Elipsa, 2005.

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Klötzer, Sylvia. Satire und Macht: Film, Zeitung, Kabarett in der DDR. Böhlau, 2006.

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Puchner, Walter. Mythologikes kai philosophikes satires sto Hellēniko proepanastatiko theatro: Arches 19ou aiōna. Akadēmia Athēnōn, 2004.

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Sri Lankan theater in a time of terror: Political satire in a permitted space. Sage Publications, 1999.

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Book chapters on the topic "Satire Theatre"

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Macleod, Joseph. "Satire by Puppets." In A Soviet Theatre Sketch Book. Routledge, 2021. http://dx.doi.org/10.4324/9781003228677-10.

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Curtis, J. A. E. "Down with the Foxtrot! Concepts of Satire in the Soviet Theatre of the 1920s." In Russian Theatre in the Age of Modernism. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20749-7_10.

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Wardhaugh, Jessica. "The Art of Counter-Revolution: From Royalist Satire to Fascist Mass Spectacle." In Popular Theatre and Political Utopia in France, 1870—1940. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59855-4_7.

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Goddard, Lynette. "Nigerian Political Satire at the Soho Theatre: Class, Culture, and Theatrical Languages in Oladipo Agboluaje’s The Estate and Iyale (The First Wife)." In Africa on the Contemporary London Stage. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94508-8_6.

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Kay, W. David. "Comical Satire and the War of the Theatres." In Ben Jonson. Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-23778-4_4.

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Benedetti, Stefano. "Roma, settembre 1513: Spettacolo, poesia e satira in Theatro capitolino." In Poésie latine à haute voix (1500-1700). Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.latin-eb.4.00142.

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Alexander, David. "Political Satire In The Israeli Theatre." In Jewish Humor. Routledge, 2017. http://dx.doi.org/10.4324/9780203788004-11.

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Hale, Meredith McNeill. "Text, Image, and the Performance of Satire." In The Birth of Modern Political Satire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198836261.003.0005.

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This chapter considers the relationship between text and image in De Hooghe’s satires: how it functions and what it tells us about how the satires were produced and who their intended audience/s might have been. De Hooghe’s satires were issued in the form of broadsheets, the typeset text appearing beneath the print in the form of a spoken (or sometimes sung) dialogue accompanied by letters or numbers identifying the figures in the scene. Neither text nor image is effective alone: the viewer is required to cross-reference them repeatedly in order to understand the satire. While the textual component of De Hooghe’s satires may seem to suggest a relationship to newspaper and pamphlet production, their emphatic rejection of narrative in favour of the discursive places them in the realm of dramatic literature and the theatre, genres more readily suitable to conveying the fictive and often whimsical violence of satire. This discussion includes material considerations, among them the format of the satires and how they were produced, and considers the satires in light of other contemporary printed media, among them the pamphlet, the news sheet, and the ballad. The particular relationship between text and image in De Hooghe’s satires and the distinctly performative quality it engenders shed critical light on their audience and function.
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Youker, Timothy. "Karl Kraus’s cannibal satire and pedagogies of reception." In Documentary Vanguards in Modern Theatre. Routledge, 2017. http://dx.doi.org/10.4324/9781315113081-4.

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Larson, Jennifer. "How a Mama on the Couch Evolves into a Black Man with Watermelon: George C. Wolfe, Suzan-Lori Parks, and the Theatre of “Colored Contradictions”." In Post-Soul Satire. University Press of Mississippi, 2014. http://dx.doi.org/10.14325/mississippi/9781617039973.003.0014.

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This chapter explores the plays of George C. Wolfe, whose work reclaims and reopens the literary and cultural past, and Suzan-Lori Parks, whose work furthers this project. Both playwrights take as the subjects of their satire the well-worn narratives and even revered texts of the African American canon, and present common stereotypes in order to highlight the racialized past. In so doing, these plays highlight the contradictions of black identity, and ask their audiences to embrace these contradictions
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Reports on the topic "Satire Theatre"

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid re
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