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Journal articles on the topic 'Satire Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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9

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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10

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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McMurtry, Mervyn. "ADAM LESLIE AND HIS CONTRIBUTION TO SATIRE IN INTIMATE REVUE IN SOUTH AFRICAN THEATRE." South African Theatre Journal 9, no. 1 (1995): 3–27. http://dx.doi.org/10.1080/10137548.1995.9688137.

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Jamil Shahwan, Saed, and Tasneem Rashed Said Shahwan. "Development of Literary Forms in Theater and Novel during the Victorian Era." International Journal of Applied Linguistics and English Literature 8, no. 5 (2019): 49. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.5p.49.

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Appropriate understanding and embracing of the literature in the 19th century in Britain, should be considered so crucial when it comes to writing of novel and the same as to that of theater. Although Radcliff & Mattacks (2009) point out the changes experienced in theatre during the Victorian era, this research further explains the role of human activities in influencing changes in literary forms. There are a number of factors that are seen to be taking place at this particular period, lack of some basic understanding hindered the whole concept of writing. This period was commonly referred

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Olusegun, Elijah Adeoluwa. "The àwàdà phenomenon: Exploring humour in Wole Soyinka’s Alápatà Apátà." European Journal of Humour Research 6, no. 4 (2018): 118. http://dx.doi.org/10.7592/ejhr2018.6.4.olusegun.

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This article explores the deployment of humour in Wole Soyinka’s new and full-length play Alápatà Apátà. The emergence of Moses Olaiya (otherwise known as Baba Sala) on the Nigerian theatre scene at a time it was dominated by such colossuses as Hubert Ogunde, Duro Ladipo, and Kola Ogunmola, as a popular jester and comic actor has elevated the phenomenon called áwàdà to a popular form of art. The idea of serious theatre involving mostly tragedy had dominated the Nigerian theatrical scene to an extent that little attention is devoted to the less popular form of comedy until it was given i

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Scuderi, Antonio. "Metatheatre and Character Dynamics in The Two-Headed Anomaly by Dario Fo." New Theatre Quarterly 21, no. 1 (2005): 13–22. http://dx.doi.org/10.1017/s0266464x04000296.

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Dario Fo has developed his own brand of epic theatre by adapting principles and techniques from various forms of popular performance and the oral tradition. He stays detached from the role he plays by frequently shifting in and out of character and by calling attention to the performance as such. This, argues Antonio Scuderi, allows him to emphasize the interpretive frame – the ‘messages’ he establishes in his prologue. His most recent play, The Two-Headed Anomaly, is thus at one level a farcical romp; but a closer look reveals an intricate metatheatrical structure that allows Dario Fo and his

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Jensen, Claudia R., and John S. Powell. "‘A Mess of Russians left us but of late’: Diplomatic Blunder, Literary Satire, and the Muscovite Ambassador's 1668 Visit to Paris Theatres." Theatre Research International 24, no. 2 (1999): 131–44. http://dx.doi.org/10.1017/s0307883300020757.

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In October 1672, a highly select audience in Moscow witnessed the court's first theatrical production, a setting of Artakserksovo deistvo (The Play of Ahasuerus) based on the biblical story of Esther. A month later, in contrast, Parisians would witness the escalating rivalry between Molière and Lully—as the former continued to capitalize on their tragédie-ballet, Psyché (with Lully's music), while the latter prepared to launch his first French opera, Les Fêtes de l'Amour et de Bacchus (with Molière's lyrics).1 At first glance there would seem to be little connection between the fledgling Musco

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Khan, Mohammad Owais, and Saudi Arabia. "Idiocy and Forlorn Features in Samuel Beckett’s Play “Waiting for Godot”." International Journal of Linguistics 11, no. 1 (2019): 151. http://dx.doi.org/10.5296/ijl.v11i1.14271.

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The aim of this paper is to express the idiocy and forlorn elements in Samuel Beckett’s play ‘Waiting for Godot’. To achieve the goals of the research, it is necessary to investigate deeply a blend of comic and pathos involved in the play. These elements are: first, the idiocy which basically depends on the special language of the play, the pitiful and deplorable elements and the use of irony and satire. The play was written in 1949, translated into many languages and it is still performed in many countries all around the world. Waiting for Godot is hailed as one of the masterpieces of the the

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Kobialka, Michal. "Words and Bodies: A Discourse on Male Sexuality in Late Eighteenth-Century English Representational Practices." Theatre Research International 28, no. 1 (2003): 1–19. http://dx.doi.org/10.1017/s0307883303000117.

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In 1772, William Kenrick published Love in the Suds, a direct attack on David Garrick. In 1776, Humphrey Nettle [William Jackson] published Sodom and Onan, a satire against Samuel Foote. Both of these texts make explicit charges of homosexuality against the two men. Why were these two actors singled out at this particular moment: serendipity or a new mechanism of power? An examination, thus, is required, of the representational practices operating within and without theatre, through which accepted sexual practices and new forms of personhood were normalized and put into discourse in late eight

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Güvenç, Sıla Şenlen. "‘Yae, Nae, or Dinnae Ken’: Dramatic Responses to the Scottish Referendum and Theatre Uncut." New Theatre Quarterly 33, no. 4 (2017): 371–85. http://dx.doi.org/10.1017/s0266464x17000501.

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In this paper Sıla Şenlen Güvenç surveys the key plays staged in the run-up to the Scottish Independence Referendum of September 2014, with special emphasis on the six Theatre Uncut plays – Rob Drummond's Party Pieces, A. J. Taudevin's The 12.57, and Lewis Hetherington's The White Lightning and the Black Stag (composed in 2013), and Davey Anderson's twin plays, Fear and Self-Loathing in West Lothian and Don't Know, Don't Care, and Kieran Hurley's Close from 2014. Written prior to the referendum and performed together for the first time at the Edinburgh Fringe Festival in 2014, these plays beca

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Baker, James. "The OP War, Libertarian Communication and Graphic Reportage in Georgian London." European Comic Art 4, no. 1 (2011): 81–104. http://dx.doi.org/10.3828/eca.2011.6.

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On 18 September 1809, Covent Garden Theatre reopened, lavishly decorated after the devastating fire of the previous year. Far from being an occasion of celebration, an increase in prices and the architectural redistribution raised the ire of London's theatregoers, sparking months of sustained protest. Known as the Old Price riots, these protests received widespread attention in the metropolitan press. They also prompted various responses from London's satirical print trade. This article will explore the output of these two publicly facing media with respect to the Old Price riots as means of e

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Jarząbek-Wasyl, Dorota. "Jak kupiec Symonowicz trafił do polskiej komedii." Lehahayer 6 (December 31, 2019): 71–89. http://dx.doi.org/10.12797/lh.06.2019.06.02.

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How Merchant Symonowicz Found his Way into Polish Comedy On 4th March 1766, Franciszek Bohomolec’s Małżeństwo z kalendarza (“Marriage by the Calendar”) was performed in Warsaw on the newly opened national stage. The play features an episodic character of a Warsaw merchant who immediately after the premiere was recognised as a satire on Symon Der Symonowicz, the owner of breweries and manufacturer of wine goods. The account of the lampoon attack on Symonowicz, though accepted as a fact, can also be called into question. The author of the article examines both the origin of this circulatin

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Vivier, Eric D. "Judging Jonson: Ben Jonson's Satirical Self-Defense in Poetaster." Ben Jonson Journal 24, no. 1 (2017): 1–21. http://dx.doi.org/10.3366/bjj.2017.0177.

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This essay argues that Ben Jonson's antagonism with his audience in the comical satires was at least in part related to his translation of the satirist to the theater. Whereas printed satires anticipated and even encouraged the displeasure of their readers, Jonson's comical satires attempt to forestall the potential displeasure of the audience by replacing their judgment of his plays with his own judgment of his plays. When he was accused of arrogance by his fellow playwright John Marston, Jonson put Marston's judgment of Jonson's judgment on trial. This is the central “arraignment” of Poetast

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Gomis, Juan, and Jeroen Salman. "Tall Tales for a Mass Audience." Quaerendo 51, no. 1-2 (2021): 95–122. http://dx.doi.org/10.1163/15700690-12341484.

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Abstract In this article we compare Dutch penny prints with Spanish Aleluyas, focusing on three specific functions of this premodern mass medium: popularising and adapting theatre plays; standardising (folk/fairy) tales; adapting and popularising literary classics. Via these functions we address the discrepancies between the two countries considering the materiality of the penny prints, the growth of the production, but also the transition from a predominantly religious, towards a more profane content. Striking was the lack of educative and edifying initiatives in Spain in contrast to the Dutc

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Scuderi, Antonio. "The Gospel According to Dario Fo." New Theatre Quarterly 28, no. 4 (2012): 334–42. http://dx.doi.org/10.1017/s0266464x12000632.

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For over half a century the Italian Nobel playwright and performer Dario Fo (b. 1926) developed a theatre that challenged the authority of hegemonic culture, while promoting the validity and dignity of folk and popular cultures. In his satire of the Catholic Church, Fo presents the paternalistic God the Father as an instrument of suppression, while showing Jesus as being closer to the hearts of the folk. His references to apocryphal gospels – the gospels of early Christianity that were rejected by the Roman Church – play into this schema. In two of his plays, First Miracle of the Christ Child

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Orji, Bernard Eze. "Humour, satire and the emergent stand-up comedy: A diachronic appraisal of the contributions of the masking tradition." European Journal of Humour Research 6, no. 4 (2018): 24. http://dx.doi.org/10.7592/ejhr2018.6.4.orji.

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Masking is a phenomenon that is traced to almost all human ages. From its prehistoric and primitive narratives in Africa, its dramatic beginnings in ancient Greece and Rome, to its use as forms of character delineation in the commedia dell’Arte of the 16th and 18th century Europe, as well as its age long association with carnivals due largely to its analogous to humour and entertainment. Masking, as comic as it may seem, has been critical of humanity’s social dispositions from time past. As humans, the façade of the mask is a leeway to speak truth to power and also an opportunity for the perfo

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Coppa, Francesca. "Kenneth Tynan: A Life. By Dominic Shellard. New Haven, CT: Yale University Press, 2003; pp. 399. $35.00 cloth." Theatre Survey 46, no. 2 (2005): 319–21. http://dx.doi.org/10.1017/s0040557405250202.

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Pity the scholar asked to review a biography of Kenneth Tynan; one finds oneself frantically searching one's pockets for aphorisms, witticisms, or—at the very least—a shocking obscenity or two. After all, Tynan was the critic who so memorably dismissed a popular musical as “a world of woozy song”; met the question, “Who are the new English playwrights?” with the sarcastic rejoinder, “Who were the old ones?”; and who cried out for new playwrights to invade the British theatre because he would “rather be a war correspondent than a necrologist.” Then, of course, there is the famous first use of t

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Lekkas, Demetrios E. "The true “punching bag” behind Molière’s The Middle-Class Nobleman." Epistēmēs Metron Logos, no. 2 (June 8, 2019): 11. http://dx.doi.org/10.12681/eml.20569.

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Summary In 1670, the new ballet comedy The middle-class gentleman (Le bourgeoisgentilhomme) premiered at the theatre of the French palace before “theSun King” Louis XIV, on a text by Molière with music by Lully, hispermanent collaborator. Both were acting on stage. Since then, no one hasraised the question who is the real punching bag of the play’s aggression.The present author decided to research towards understanding it, in orderto compose new music responsibly for a performance at the MunicipalRegional Theatre of Crete, an island paradoxically connected directly withthe initial impetus behi

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Berkowitz, Joel. "Messiahs of 1933: How American Yiddish Theatre Survived Adversity through Satire. By Joel Schechter. Philadelphia: Temple University Press, 2008. Pp. 304. $39.50 Hb." Theatre Research International 35, no. 2 (2010): 202–3. http://dx.doi.org/10.1017/s0307883310000167.

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Tan, Ian. "Ian McEwan’s Aesthetic Stakes in Adaptation as Political Rewriting: A Study of Nutshell (2016) and The Cockroach (2019)." Anglia 139, no. 3 (2021): 564–83. http://dx.doi.org/10.1515/ang-2021-0043.

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Abstract This essay will examine two of Ian McEwan’s recent novellas as political rewritings of William Shakespeare and Franz Kafka. McEwan’s Nutshell (2016) repositions the avenger figure in Hamlet as an unborn child whose melancholic awareness of the condition of modern existence allows him a mode of ironic commentary about the possibilities of moral and political choices in a world soon to be destroyed by climate change and nuclear apocalypse. The Cockroach (2019) turns Kafkaesque absurdity into political satire as the protagonist-turned-insect first encountered in The Metamorphosis (1915)

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MacDonald, Calum. "The Anti-Formalist ‘Rayok’ – Learners Start Here!" Tempo, no. 173 (June 1990): 23–30. http://dx.doi.org/10.1017/s0040298200019094.

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Much of what follows concerns itself with issues which are inevitably (and properly) extra-musical. But the musical significance of the recently-exhumed and now partially recorded ork by Dmitri Shostakovich which seems to be called (or thought of as) Antiformalisticheski Rayok is worth stressing at the outset. This little cantata ‘for reader, four basses, mixed chorus and piano accompaniment’ could hardly be claimed as one of the Soviet master's major utterances: it is, rather, a particularly bitter and subversive satirical squib – much of its fascination stems from the explicitness and politi

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Callow, Simon. "Staging dissent: When a Britiish prime minister was not amused by satire, theatre censorship followed. We revisit plays that riled him, 50 years after the abolition of the state censor." Index on Censorship 47, no. 1 (2018): 44–46. http://dx.doi.org/10.1177/0306422018770113.

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Renner, Bernd. "FromSaturatoSatyre:François Rabelais and the Renaissance Appropriation of a Genre*." Renaissance Quarterly 67, no. 2 (2014): 377–424. http://dx.doi.org/10.1086/677406.

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AbstractRenaissance satire has long been a neglected field of study, which is most likely due to the difficulty decoding its targets, to its nonliterary utilitarian purpose, and to the menace of invective that always hovers over the satirical metagenre. This study aims at two objectives: to retrace the formal development of early modern satire by showing how the blending of four disparate traditions — Romansatura,Greek satyr play, Menippean satire, and medieval popular theater — created a form that not only dominated the period, but also laid the groundwork for the development of the modern va

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Zavyalova, Olga Yu. "Tradition and Literature (Culture of Laughter of Mali and Guinea)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 150. http://dx.doi.org/10.31857/s086919080016046-7.

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This article continues the topic of the previous one [Zavyalova, Kutsenkov, 2020]. It reveals how great is the role of humor in the cultures of West Africa, where it manifests itself in various spheres of life of its peoples. The Kɔ̀tɛba Folk Theater in Mali and Guinea is another traditional aspect of humor based on satire. The secret society of Kɔ̀rɛduga “jesters” is characteristic of the traditional cultures of Manden. The Dogon have guardians of brussa, alamonyou, who play the role of clowns during the release of masks, and female jesters yayeré, who are wives of the inhabitants of a given

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Zatlin, Phyllis. "From Night Games to Postmodern Satire: The Theater of Paloma Pedrero." Hispania 84, no. 2 (2001): 193. http://dx.doi.org/10.2307/3657722.

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França, George Sand, Ricardo Cruccioli Ribeiro, Luana Rosa Soares, João Calmoni, Gabriel B. de França, and Paulo Eduardo Brito. "The Flat Earth satire: using science theater to debunk absurd theories." Geoscience Communication 4, no. 2 (2021): 297–301. http://dx.doi.org/10.5194/gc-4-297-2021.

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Abstract. Science needs everyone and everything; therefore, art must be used for its understanding. As the popularity of social media grows, absurd theories have been gaining consensus and, even worse, becoming factual truths without any criticism for many. Thus, aiming to find solutions for a better understanding of our scientific theories, the project “The earth is flat! And, now what?” was created. This project uses performing art as the main communicator to spread science. The first step consisted of calling a meeting to promote integration among the project participants and professionals

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Mestyan, Adam. "ARABIC THEATER IN EARLY KHEDIVIAL CULTURE, 1868–72: JAMES SANUA REVISITED." International Journal of Middle East Studies 46, no. 1 (2014): 117–37. http://dx.doi.org/10.1017/s0020743813001311.

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AbstractThis article revisits the official culture of the early khedivate through a microhistory of the first modern Egyptian theater in Arabic. Based on archival research, it aims at a recalibration of recent scholarship by showing khedivial culture as a complex framework of competing patriotisms. It analyzes the discourse about theater in the Arabic press, including the journalist Muhammad Unsi's call for performances in Arabic in 1870. It shows that the realization of this idea was the theater group led by James Sanua between 1871 and 1872, which also performed ʿAbd al-Fattah al-Misri's tra

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Goncharova, E. I. "P.P. Pertsov and gazeta «Novoye vremya» (1898–1901) (New aspect of creative biography)." Solov’evskie issledovaniya, no. 3 (September 30, 2020): 157–68. http://dx.doi.org/10.17588/2076-9210.2020.3.157-168.

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The article examines the early stage of cooperation between the writer and philosopher P.P. Pertsov and the conservative newspaper Novoe Vremya (1868–1917). Fragments of Pertsov's archival correspondence with the philosophical writer V.V. Rozanov, Pertsov's father and the critic of the liberal magazine «Russian wealth» A.G. Gornfeld are partially introduced into scientific circulation. The author analyzes the reasons for Pertsov's difficult attitude to the publisher and editor of Novoye Vremya, the playwright and founder of the Maly theater in St. Petersburg, A.S. Suvorin. The author substanti

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Caplan, Debra. "Beyond the Golden Door: Jewish American Drama and Jewish American Experience. By Julius Novick. New York: Palgrave Macmillan, 2008; pp. 200. $75 cloth, $26.95 paper. - Messiahs of 1933: How American Yiddish Theatre Survived Adversity through Satire. By Joel Schechter. Philadelphia: Temple University Press, 2008; pp. 304. $44.50 cloth." Theatre Survey 51, no. 2 (2010): 310–13. http://dx.doi.org/10.1017/s0040557410000438.

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Shternshis, Anna. "Messiahs of 1933: How American Yiddish Theater Survived Adversity through Satire (review)." Modern Drama 52, no. 3 (2009): 380–81. http://dx.doi.org/10.1353/mdr.0.0114.

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Bednarz, James P. "Jonson, Marston, Shakespeare and the Rhetoric of Topicality." Ben Jonson Journal 27, no. 2 (2020): 155–76. http://dx.doi.org/10.3366/bjj.2020.0282.

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The revival of commercial “private” theater by the Children of Paul's in 1599 and the Children of the Chapel in 1600 transformed the culture of playgoing in London at the end of the sixteenth century. It was during this period that John Marston at Paul's and Ben Jonson at Blackfriars attracted attention at these theaters by ridiculing each other personally and denigrating each other's work. In doing so they converted these playhouses into forums for staging ideologically opposed interpretations of drama. Rather than aligning themselves with each other against the “public” theater, as Alfred Ha

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Chatterjee, Sudipto. "Sri Lankan Theater in a Time of Terror: Political Satire in a Permitted Space (review)." Asian Theatre Journal 18, no. 2 (2001): 270–73. http://dx.doi.org/10.1353/atj.2001.0013.

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Sarah Carpenter. "Towards a Reformed Theatre: David Lyndsay and Ane Satyre of the Thrie Estaitis." Yearbook of English Studies 43 (2013): 203. http://dx.doi.org/10.5699/yearenglstud.43.2013.0203.

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Goethals, Jessica. "The Patronage Politics of Equestrian Ballet: Allegory, Allusion, and Satire in the Courts of Seventeenth-Century Italy and France." Renaissance Quarterly 70, no. 4 (2017): 1397–448. http://dx.doi.org/10.1086/695350.

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AbstractEquestrian ballet was a spectacular genre of musical theater popular in the Baroque court. A phenomenon with military roots, the ballet communicated both the might and grace of its organizers, who often played starring roles. This essay explores the ballet’s centrality by tracing the itinerant opera singer and writer Margherita Costa’s use of the genre as a means of securing elite patronage: from an elegant manuscript libretto presented to Grand Duke Ferdinando II de’ Medici and later revised in print for Cardinal Jules Mazarin in Paris, to occasional poetry written for the Barberini i

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Roos, Bonnie. "Unlikely Heroes: Katharine Tynan's The Story of Bawn, the Irish Famine, and the Sentimental Tradition." Irish University Review 43, no. 2 (2013): 327–43. http://dx.doi.org/10.3366/iur.2013.0083.

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In this article, I argue that the effort to write the ‘unwritten’ Famine is not only visible in canonical Irish writers of the Modernist moment, but also in its less canonical writers and genres – particularly, in this essay, the sentimental fiction of Katharine Tynan. This essay functions to recuperate Tynan's fiction from a qualified reputation understood through her friendship with W.B. Yeats, and informed by his assessment of her work. In particular, an extended analysis of Tynan's The Story of Bawn demonstrates the narrative strategies through which Tynan's sentimental romances offered sc

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Scriven, Tom. "The Jim Crow Craze in London's Press and Streets, 1836–39." Journal of Victorian Culture 19, no. 1 (2014): 93–109. http://dx.doi.org/10.1080/13555502.2014.889426.

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Abstract In 1836, American actor Thomas D. Rice first arrived in Great Britain to tour the creation that had made him famous in the USA, Jim Crow. This blackface depiction of a raggedy, runaway slave, with his infectious songs, eccentric dancing and demotic appeal soon took London by storm. The Jim Crow craze lasted for three years, with Rice finding fame, fortune and success and his imitators becoming ubiquitous in the capital's theatres and on its streets. Although the act and its character have been acknowledged as a precursor to the evolution of British minstrelsy and blackface traditions

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Orledge, Robert. "Erik Satie's Ballet Mercure (1924): From Mount Etna to Montmartre." Journal of the Royal Musical Association 123, no. 2 (1998): 229–49. http://dx.doi.org/10.1093/jrma/123.2.229.

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Mercure, a ballet in three tableaux with scenery and costumes by Pablo Picasso and choreography by Léonide Massine, created a scandal on a par with that of Parade (1917) when it was first performed at La Cigale Theatre in Montmartre on 15 June 1924 as part of the ‘Soirée de Paris’ season mounted by the wealthy Comte Etienne de Beaumont. Although Mount Etna, as it transpired, featured in the scenario but not in Picasso's stage sets, the première was certainly the scene of a volcanic eruption, a deliberate demonstration orchestrated by the Surrealists (led by the poet André Breton), who tried to

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Davis, Peggy. "Montagnes Russes and Calicot." Historical Reflections/Réflexions Historiques 44, no. 3 (2018): 8–28. http://dx.doi.org/10.3167/hrrh.2018.440302.

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Restoration-era discourse on the montagnes russes—early roller coasters—reveals how leisure activity could become a lightning rod for perspectives on public space, tensions among social groups, and expressions of patriotism. Eager to profit from the montagnes russes craze, boulevard theaters hosted a number of plays on the subject. Through the buffoonish character M. Calicot, one such comedy—entitled The Battle of the Mountains— caricatured young clothing-trade salesclerks who frequented roller-coaster parks. The play provoked the ire of some of these men, who “waged war” on the Variety Theate

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Alagha, Joseph. "Hizbullah’s Post-Islamist Trends in the Performing Arts." Religions 11, no. 12 (2020): 645. http://dx.doi.org/10.3390/rel11120645.

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This article outlines Hizbullah’s shift to post-Islamism and its various cultural activities in Lebanese society that underpin this shift. The Party’s involvement in these activities is integrated in current research on post-Islamism and its various social, political, and cultural manifestations. In its Islamist stage, Hizbullah anathematized the Lebanese political system and state institutions. In its post-Islamist phase, Hizbullah became pragmatic by embarking on a policy of opening-up (infitah) in politics along with cultural and social practices. This article studies Hizbullah’s popular cu

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Mai, Anne-Marie. "Historien som scene hos Ludvig Holberg og Charlotta Dorothea Biehl." Sjuttonhundratal 8 (October 1, 2011): 197. http://dx.doi.org/10.7557/4.2396.

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<p>Ludvig Holberg (1684-1754) and Charlotta Dorothea Biehl (1731-1788) are two key figures of the Nordic Enlightenment. The Norwegian Holberg took his philosophical and theological degrees from the University of Copenhagen at an early age and travelled around Europe accumulating knowledge for his historical writings. Holberg made a splendid career at the University of Copenhagen both as a professor and vice-chancellor and published historical works, satires, comedies, essays, fables, and autobiographical letters. As a woman, Biehl was barred from university education and public office. H

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Torres Miguel, Ricardo. "La parodia, la sátira y la intertextualidad: las diferencias y afinidades entre Las fábulas perversas, de Óscar Liera, y 1822, de Flavio González Mello." Investigación Teatral. Revista de artes escénicas y performatividad 11, no. 17 (2020): 54–77. http://dx.doi.org/10.25009/it.v11i17.2627.

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El teatro histórico ha tenido pocos exponentes en la escena mexicana de los últimos años. Los dramaturgos Óscar Liera y Flavio González Mello figuran entre los pocos que han representado con maestría este género teatral. Las fábulas perversas fue una de las creaciones finales de Liera, en la que parodia al célebre fraile Servando Teresa de Mier. Por su parte, González Mello retomó el tema del fraile dominico en 1822, obra que aborda el año en que México fue imperio. Ambos textos tienen como protagonista al polémico personaje, sólo que en la versión de Liera se plantea al religioso por medio de

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Козорог, О. В., та Л. В. Константінова. "«ПРИКЛЮЧЕНИЯ ПИНОККИО» КАРЛО КОЛЛОДИ И ИТАЛЬЯНСКАЯ КОМЕДИЯ ДЕЛЬ АРТЕ. В ПОМОЩЬ УЧИТЕЛЮ НАЧАЛЬНЫХ КЛАССОВ". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 3, № 93 (2019): 92–101. http://dx.doi.org/10.34142/2312-1076.2019.3.93.08.

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The article explores the world-famous work of the Italian writer Carlo Collodi The Adventure of Pinocchio. Despite the fact that the book of Carlo Collodi is addressed to a children's audience, it contains features of satire on Italian reality. The book The Adventures of Pinocchio by Carlo Collodi throws us back to folk laughter culture (term of M. Bakhtin), which is inseparably linked with the traditions of the Italian comedy dell’arte. Just in it Collodi draws the plot for his work. In the book about the adventures of Pinocchio, there is a lot from the carnival laughter culture and from the

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