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Journal articles on the topic 'Theater guild'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Kim, Minsu. "The Rise of Sinpageuk and the Development of Yeonhui in the 1910s." National Gugak Center 50 (October 31, 2024): 79–101. http://dx.doi.org/10.29028/jngc.2024.50.79.

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This paper reexamines the aspects of yeonhui (traditional performing arts) unfolded in the relationship with sinpageuk (westernized theatrical play introduced from Japan) in the 1910s, which has been under-researched, focusing on the previous studies on the theater and Gyeongseong Gupa (lit. old school) Actors' Guild, which are key topics related to this period. As a result, there were significant differences from existing discussions in many ways. It has been assumed that yeonhui performances in theaters were reduced due to the introduction of sinpageuk in the 1910s. However, except for Yeonh

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2

Zuo, Yanchen. "A New Study on the Secondary Creation of Actors Assisted by Artificial Intelligence." Highlights in Art and Design 9, no. 2 (2025): 34–39. https://doi.org/10.54097/7fhmg280.

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With the rapid development of digital technology in recent years, the form of art presentation has changed significantly. The traditional way of presenting art in the development of science and technology today faces challenges to its survival. Thus, the integration of art and technology has become a general trend. However, the full impact of artificial intelligence on theater performance has not been fully studied, especially in terms of actor-audience interaction and performance techniques. Traditional theater performance teaching has followed the model of training actors inherited from prev

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3

O'Leary, James. "Oklahoma!, “Lousy Publicity,” and the Politics of Formal Integration in the American Musical Theater." Journal of Musicology 31, no. 1 (2014): 139–82. http://dx.doi.org/10.1525/jm.2014.31.1.139.

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The achievements of Rodger and Hammerstein’s Oklahoma! (1943) are well known: since the musical opened, critics have proclaimed it a new version of the genre, distinguished by its “integrated” form, in which all aspects of the production—score, script, costume, set, and choreography—are interrelated and inseparable. Although today many scholars acknowledge that Oklahoma! was not the first musical to implement the concept of integration, the musical is often considered revolutionary. Building on the work of Tim Carter, I use the correspondence and press materials in the Theatre Guild Collection

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4

Rzhevska, Maiia. "Broadway musical in the space of artistic communication." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 142 (March 13, 2025): 76–87. https://doi.org/10.31318/2522-4190.2025.142.327881.

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The relevance of research is determined by the necessity to highlight the factors influencing the functioning of Broadway theatre as a multi-layered semiotic space that has been formed over an extended period, has undergone and continues to undergo constant transformations, by highlighting its most representative phenomenon — the musical. Main objective of the article is to characterize the Broadway musical as the core of a semiotic (communicative) artistic environment and, simultaneously, as an instrument for the realization of artistic communication. The research methodology is based on an i

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5

Musiiachenko, Olha. "BUSINESS DOCUMENTATION AS RESEARCH SOURCE OF KYIV MUSIC ENVIROMENT IN LATE 19 — EARLY 20 c." Kyiv Historical Studies 11, no. 2 (2020): 24–28. http://dx.doi.org/10.28925/2524-0757.2020.2.3.

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The results of the study of Kyiv music environment in the late 19 — early 20 centuries are presented through the analysis of business documentation. The peculiarities of researching the music environment of cities and the experience of using different types of sources when studying the music environment have been examined. The study of archival documents of Kyiv of this period allowed us to determine the specific components of the music environment of the city that were presented in the business documentation in late 19 — early 20 centuries. Our main source is data taken from archival institut

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6

Brustein, Robert. "The Theatre of Guilt." New Theatre Quarterly 10, no. 40 (1994): 382–86. http://dx.doi.org/10.1017/s0266464x00000944.

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JAN KOTT has been a young man for as long as I have known him, which is going on twenty eight years, so the idea of celebrating his eightieth birthday boggles the mind. Jan Kott's clear mind has never been boggled in the slightest. It has functioned rather as a continuing source of youthful energy, original ideas, and dazzling insights. Therefore, one way to salute this innovative thinker is by trying to produce thoughts about the theatre inspired by his ground-breaking work, with the understanding that none of our perceptions will ever match those of the ‘onlie begetter.’ My own poor contribu

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7

Hamm, Charles. "The Theatre Guild Production of Porgy and Bess." Journal of the American Musicological Society 40, no. 3 (1987): 495–532. http://dx.doi.org/10.2307/831678.

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Recent performances of George Gershwin's opera Porgy and Bess have been based on the uncut score as published by the Gershwin Publishing Corporation, on the assumption that the composer intended it to be played in this "complete" form. Gershwin sent his score to the publisher some months before the New York premiere, mounted by the Theatre Guild on 10 October 1935 after a tryout performance in Boston. Extensive cuts and other changes were made during rehearsals and after Boston, all initiated or approved by Gershwin, who was intimately involved in the production; none of this is reflected in t

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8

Hamm, Charles. "The Theatre Guild Production of "Porgy and Bess"." Journal of the American Musicological Society 40, no. 3 (1987): 495–532. http://dx.doi.org/10.1525/jams.1987.40.3.03a00050.

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9

Yelderman, Logan A., Monica K. Miller, Shelby Forsythe, and Lorie Sicafuse. "Understanding Crime Control Theater." Criminal Justice Review 43, no. 2 (2017): 147–73. http://dx.doi.org/10.1177/0734016817710695.

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Policies such as America’s Missing: Broadcast Emergency Response Alerts, safe haven laws, Megan’s law, and three-strikes laws have provided the public with a feeling of safety and security. However, research has provided evidence that disputes their effectiveness. These types of laws and policies have become known as “crime control theater” (CCT) because they appear to be effective, serve the public’s best interests, and provide a crime control purpose but are largely ineffective and have unintended negative consequences. Using self-affirmation and emotion theory, this study examines potential

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10

Samitov, Dmitry G. "THE LITTLE THEATRE MOVEMENT AND ART THEATRES IN THE UNITES STATES. THE THEATRE GUILD." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 34 (June 2019): 54–60. http://dx.doi.org/10.17223/22220836/34/5.

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11

Sorgenfrei, Carol Fisher. "Guilt, Nostalgia, and Victimhood: Korea in the Japanese Theatrical Imagination." New Theatre Quarterly 29, no. 2 (2013): 185–200. http://dx.doi.org/10.1017/s0266464x13000286.

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How has post-war Japanese theatre grappled with Japanese responsibility for its imperialistic/militaristic past in Asia, and for institutionalized discrimination against resident minorities? Using the tools of guilt, nostalgia, and the valorization of victimhood that are embedded in the idea of hōgan biiki (sympathy for the loser/victims), Carol Fisher Sorgenfrei here analyzes Japan's often contradictory, flip-flopping self-image as both victimizer and victim in relation to Korea and resident Koreans. Looking at both mainstream and alternative performances, her article suggests that despite at

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12

Muther, Elizabeth. ""Great, Unappeasable Ghost": Claude McKay and the Theatre Guild Incident." Modern Language Studies 30, no. 2 (2000): 133. http://dx.doi.org/10.2307/3195383.

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13

Rotté, Joanna. "Questions of Life and Art: Recollecting Harold Clurman." New Theatre Quarterly 8, no. 31 (1992): 241–48. http://dx.doi.org/10.1017/s0266464x00006862.

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When Harold Clurman died in 1980, he was almost as old as the century, but still in harness – perhaps the most venerable as well as the most versatile polymath of the American theatre. His life in the theatre extended from acting with the Theatre Guild in the ‘twenties, through his creation and direction of the Group Theatre in the ‘thirties, to a distinguished post-war career as free-lance director, highly respected theatre critic – first for the New Republic, then since 1953 for The Nation – and also theatre historian and university teacher. It was in this last role that, as a student, Joann

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14

Hoffman, James. "Carroll Aikins and the Home Theatre." Theatre Research in Canada 7, no. 1 (1986): 50–70. http://dx.doi.org/10.3138/tric.7.1.50.

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Carroll Aikins founded the Home Theatre in Naramata on Lake Okanagan in British Columbia in November 1920. Having just had his play The God of Gods produced at the Birmingham Repertory Theatre in England, Aikins, adhering to the 'Art Theatre' principles of Gordon Craig and Maurice Browne, began the Canadian Players, a training company intended to mount and tour indigenous drama on a national scale. Recruiting instructors from the Neighborhood Playhouse in New York, he commenced work in his theatre building which was designed in collaboration with Lee Simonson of the Theatre Guild. The company

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15

Case. "Inventing Tennessee Williams: The Theatre Guild and His First Professional Production." Tennessee Williams Annual Review, no. 8 (2006): 51. http://dx.doi.org/10.2307/45389535.

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16

Borody, Claire. "FemFest." Canadian Theatre Review 116 (September 2003): 90–93. http://dx.doi.org/10.3138/ctr.116.011.

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From 7-15 June 2003 the Colin Jackson Theatre at Winnipeg’s Prairie Theatre Exchange was home to FemFest: an eight-day festival celebrating women playwrights and their plays. The event was organized by Hope McIntyre, Artistic Director of Sarasvàti Productions, who also serves as the Chair of the Women’s Caucus for the Playwright’s Guild of Canada and the Outreach Director for the International Centre for Women Playwrights. The festival was born out of McIntyre’s need to take action that would contribute to a change in the publishing and production trends revealed by two major surveys of playwr

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17

Sieg, Katrin. "Race, Guilt and Innocence: Facing Blackfacing in Contemporary German Theater." German Studies Review 38, no. 1 (2015): 117–34. http://dx.doi.org/10.1353/gsr.2015.0007.

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18

Burton, Rebecca. "Dispelling the Myth of Equality: A Report on the Status of Women in Canadian Theatre." Canadian Theatre Review 132 (December 2007): 3–8. http://dx.doi.org/10.3138/ctr.132.001.

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In 2003, the Women’s Caucus of the Playwrights Guild of Canada partnered with Nightwood Theatre to support a new study on the status of women in Canadian theatre. The discouraging findings of preliminary investigations, the passionate responses encountered at community events, the added involvement of organizations like the Professional Association of Canadian Theatres (PACT) and the support of the Canada Council for the Arts led to the launch, in the following year, of Equity in Canadian Theatre: The Women’s Initiative. Modelling its efforts on Rina Fraticelli’s landmark report, “The Status o

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19

Rybina, Polina Yu. "John Lahr on Arthur Miller: the Structure and Effects of a Life in the Theatre (Lahr, John. Arthur Miller. American Witness. New Haven, CT; London: Yale University Press, 2022.)." Literature of the Americas, no. 17 (2024): 385–93. https://doi.org/10.22455/2541-7894-2024-17-385-393.

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Theatre critic John Lahr writes Arthur Miller's biography as a meticulous study reminiscent of a fascinating novel. Relying upon extensive archival materials, correspondence, his own interviews with Miller and the works of his predecessors (K. Bigsby, M. Gottfried, M. Roudané, S. Abbotson), Lahr structures his book around several dominant motifs of an American playwright’s life. Miller was “building” (the book begins in his workshop in Roxbury) — his fictional worlds, families, and articulate political responses. Miller was “a witness”, which means he was present at the events, sharing his per

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20

Abeliovich, Ruthie. "On Guilt and Ghosts." Pamiętnik Teatralny 69, no. 4 (2020): 161–70. http://dx.doi.org/10.36744/pt.567.

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This paper reviews Grzegorz Niziołek thought-provoking book The Polish Theatre of the Holocaust (London: Methuen Drama Press, 2019), and the key questions and issues it addresses. Focusing on Polish perspectives, theatrical representations and performative reactions to the extermination of the Jews during WWII, the book analyzes six decades of theatrical creation. Within this scheme, the victims and perpetrators are casted in the role of actors, while the Polish people are allotted the role of passive spectators, witnesses to the atrocity. This review sheds light on the ethical and aesthetical

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21

Parush, Adi. "The Courtroom as Theater and the Theater as Courtroom in Ancient Athens." Israel Law Review 35, no. 1 (2001): 118–37. http://dx.doi.org/10.1017/s0021223700012103.

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To prevent any misunderstanding, I first would like to clarify that I am not a historian dealing with classical studies; my main disciplines are philosophy and law. However, following a seminar I gave dealing with several philosophical-legal aspects of Greek tragedy, and an article I wrote about the relationship between the concept of guilt in Oedipus Tyrannus and the principle of strict liability in modern criminal law, I have found myself in recent years becoming increasingly interested in the unique culture which emerged in Athens during the classical period, particularly in the 5th century

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22

Ouchi, Mieko. "Translating Alberta." Canadian Theatre Review 136 (September 2008): 50–53. http://dx.doi.org/10.3138/ctr.136.010.

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I first met the remarkable Toyoshi (Yoshi) Yoshihara in Calgary in 2003, as my first play The Red Priest (Eight Ways to Say Goodbye) was debuting at Alberta Theatre Project's playRites Festival. Born and raised in Tokyo, Yoshihara formally studied Russian language and literature at Waseda University while informally getting involved in theatre after hours in a student club. After a successful career in business, Yoshihara returned to his first love, theatre, and has become Japan's foremost translator of Canadian work. He has translated an astonishing list of Canuck playwrights, from Anne Chisl

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23

Vois, Michel, and Kevin Eistob. "JEU, #70 mars 1994, Prornethée Enchaîné, Carta de Ajuste ou Nous N’Avons Plus Besoin de Calendrier, Original Soundtracks of Theatrical Performances." Canadian Theatre Review 85 (December 1995): 79–80. http://dx.doi.org/10.3138/ctr.85.017.

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Over the past decade, translations of plays by Michel Tremblay and Robert Lepage have given Québécois theatre a firm international foothold. The Guid Sisters(the Scots translation of Tremblay’s Les Belles Soeurs) earned critical praise at the Edinburgh Festival (1987); equally enthusiastic reviews supported Lepage’s Dragon Trilogy at the Los Angeles Theatre Festival (1990) and his Needles and Opium at the Chicago International Theatre Festival (1994). As the renown of this identity-conscious region’s dramatic repertoire has grown abroad, Quebec’s theatres have been producing plays by overseas

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24

Shim, Jung-Soon. "Female Trance in Han Tae-Sook's Production of Lady Macbeth." New Theatre Quarterly 25, no. 1 (2009): 63–71. http://dx.doi.org/10.1017/s0266464x09000062.

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In this article, Jung-Soon Shim indicates how Han Tae-Sook transforms Lady Macbeth's subconscious into an interculturally emotional space in which the Christian concept of guilt and the Korean ethos of Han intersect. In this way, the director conducts an intercultural dialogue, negotiating the Western world view in Shakespeare's Macbeth together with the traditional Confucian-shamanistic world view to be found in Korea. Jung-Soon Shim is Professor of English at Soongsil University in Seoul, currently President of the Korean Theatre Studies Association (KTSA), and a founding member and Presiden

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25

Edgar, David, and Hakan Gültekin. "British Theatre from Agitprop to ‘Primark Playwriting’." New Theatre Quarterly 40, no. 3 (2024): 266–71. http://dx.doi.org/10.1017/s0266464x24000204.

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In this interview, which took place in Birmingham on 16 February 2023, Hakan Gültekin talks to playwright David Edgar about his theatre universe and the current state of British theatre. Edgar has long championed the social and economic rights of playwrights, and here suggests that the lack of long-term and sustained support from British theatres has created what he calls ‘Primark playwrights’. His plays are characterized by a careful examination of historical events and the impact of these events on society, as evident in his epic two-part play Destiny (1976), which examines the roots of the

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26

Byrne, Jamie M. "Dumbocracy in America: Studies in the Theatre of Guilt, 1987–1994." Public Relations Review 22, no. 3 (1996): 323–24. http://dx.doi.org/10.1016/s0363-8111(96)90064-8.

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27

McGovern. "From Stage to Live Broadcasts and Streaming: O'Neill's Theatre Guild Model in the Digital Age." Eugene O'Neill Review 40, no. 1 (2019): 87. http://dx.doi.org/10.5325/eugeoneirevi.40.1.2019.0087.

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28

Rebellato, Dan. "‘No Theatre Guild Attraction Are We’:Kiss Me, Kateand the Politics of the Integrated Musical." Contemporary Theatre Review 19, no. 1 (2009): 61–73. http://dx.doi.org/10.1080/10486800802583091.

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Gallo, Luz Elena, and Margarita Maria Zapata. "Cuerpos descifrados: acción teatral y memorias de género (Decoded bodies: theatrical action and gender memories)." Retos 55 (April 2, 2024): 57–64. http://dx.doi.org/10.47197/retos.v55.103638.

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Pensar el cuerpo en perspectiva formativa exige dirigir la atención a los escenarios donde transcurre la vida humana, también a los cuerpos de dolor que deja el conflicto armado en hombres y mujeres. Hay heridas abiertas o cicatrizadas, agravios vividos y encarnados en las memorias intergeneracionales, silencios y ausencias, miedo y zozobra que invitan a pensar en una humanidad resquebrajada por la guerra y urgente de restauración; son ecos de sufrimiento para actualizar la educación y las acciones educadoras que ejerce el profesorado con la vida humana. En el presente estudio se toma una mues

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30

Van Bruaene, Anne-Laure. "“A wonderfull tryumfe, for the wynnyng of a pryse”: Guilds, Ritual, Theater, and the Urban Network in the Southern Low Countries, ca. 1450–1650*." Renaissance Quarterly 59, no. 2 (2006): 374–405. http://dx.doi.org/10.1353/ren.2008.0252.

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This essay discusses the role of the Chambers of Rhetoric (literary guilds or confraternities) in the construction of urban culture in the Southern Low Countries. The Chambers of Rhetoric not only contributed to the forging of urban identity through their associational practices, but also played an important role in the molding of public space through theatrical representations and the staging of civic ritual. In particular, the Chambers’ participation in large-scale regional and interregional theater and poetry competitions is crucial for our understanding of sixteenth-century urban culture i

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31

Williams, Roy. "Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?" New Theatre Quarterly 22, no. 2 (2006): 113–21. http://dx.doi.org/10.1017/s0266464x06000352.

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Roy Williams is one of the outstanding new voices in contemporary British theatre. Born in Fulham, south-west London, in 1968, he has already, by his mid-thirties, won a shelf-full of awards, with plays staged at the National Theatre and Royal Court. His debut, The No Boys Cricket Club, won the Writers' Guild New Writer of the Year award in 1996. Two years later, his follow-up, Starstruck, won three major awards: the John Whiting Award for Best New Play, an EMMA (Ethnic Multicultural Media Awards) for Best Play, and the first Alfred Fagon Award, for theatre in English by writers with Caribbean

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32

Shcherbinin, Mikhail N., and Lyudmila G. Suvorova. "PHENOMENOLOGICAL VERSION OF THE ANCIENT GREEK PHENOMENON OF "ZANS" IN THE ASPECT OF AESTHETIC NTHROPOLOGY." Новые идеи в философии, no. 11(32) (2023): 67–82. http://dx.doi.org/10.17072/2076-0590-2023-11-66-80.

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The article is based on the interpretation of the sculptural images of Zeus in the stadium, which reminded of the dishonesty of some athletes and their patrons. It is argued that in Zan the transition from moral values to aesthetic values is car-ried out by creating a counter-image, the literal is refracted into figurative and even figurative. The article deals with the "cross" dialectics of theater and sports. It is shown that sport, as a form of collective excitement and rivalry, continues to play an important role in the life of society, in contrast to the theater, in which there is no coll

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33

Baines, Paul. ""This Theatre of Monstrous Guilt": Horace Walpole and the Drama of Incest." Studies in Eighteenth Century Culture 28, no. 1 (1999): 287–309. http://dx.doi.org/10.1353/sec.2010.0278.

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34

Litavrina, Marina G. "American vacations in Russian village. (Russian classics on foreign stage: problematic dialogue and the role of interpretеrs)". ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, № 2 (2023): 10–31. http://dx.doi.org/10.35852/2588-0144-2023-2-10-31.

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The production of Turgenev’s “A Month in the Country” (Theatre Guild, 1930) is taken here as inherent example of Russian classics interpretation in the timeline of drama history and intercultural communication through theatre. Meanwhile the difficulties and obstacles on this way are revealed. In the author’s view, the named production is often underestimated being regarded as merely a remake or replica of MAT’s classical version of 1909. The stumbling block on Turgenev’s drama way to American spectators is easily identified at the close glance. According to American critics’ general agreement,

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35

Findlay, Bill. "Translating Tremblay into Scots." Theatre Research International 17, no. 2 (1992): 138–45. http://dx.doi.org/10.1017/s0307883300016242.

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Odd though it may seem, the most popular contemporary playwright in Scotland over the past few years—judged in terms of frequency of productions—has not been a Scot but a Quebecer. In the four years from 1989 to 1992 there will have been four Scottish productions of Scots translations of plays by Michel Tremblay, as well as a revival of one of these shows. Glasgow's Tron Theatre staged The Guid Sisters (Les Belles-Sœurs) in 1989, revived it in 1990, and mounted a double bill of The Real Wurld? (Le vrai monde!) and Hosanna (Hosanna) in 1991; and Edinburgh's Traverse Theatre is staging The House

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Shchukina, J. "“Radianskyi teatr (Soviet Theatre)” as the main theatrical and analytical periodical at the turn of the 1930s." Culture of Ukraine, no. 89 (June 20, 2025): 41–52. https://doi.org/10.31516/2410-5325.089.04.

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The relevance of the research. As evidenced by numerous academic works and topics of international research-to-practice conferences, the study of art criticism is one of the promising areas of art history. Unlike, for example, the history of music criticism, the segment of theatre analytics in Ukraine has not been sufficiently studied: there are no monographs and manuals on this topic, which determines the relevance of this study. The purpose of the article is to clarify the specifics of coverage of theatrical life in “Radianskyi teatr (Soviet Theatre)” (1929–1931); to outline the range of top

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Modrzejewska, Krystyna. "The sense of a survival guilt – two images of twentieth-century's French theatre." Lublin Studies in Modern Languages and Literature 39, no. 1 (2015): 108. http://dx.doi.org/10.17951/lsmll.2015.39.1.108.

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Cantu, Maya. "Gilding the Guild’: Art theatre, the Broadway revue and cultural parody in The Garrick Gaieties (1925–1930)." Studies in Musical Theatre 7, no. 1 (2013): 45–60. http://dx.doi.org/10.1386/smt.7.1.45_1.

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Sotimirin, Olatunji Samson. "The producer-artistic business relationship: a major concern for the survival of theatre practice in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 422–32. http://dx.doi.org/10.4314/ejotmas.v7i1-2.28.

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This paper evaluates some of the perennial problems identified by scholars, writers and theatre practitioners as the bane of the growth and survival of theatre practice in Nigeria. These are inadequate funding, non-availability of befitting venues, economic and social insecurity, training and professionalism, orientation of the public sector, technological development, and so on. The central argument, however, is the issue of the business relationship between the producer and the professional theatre artiste. The paper contends that there are many issues concerning the artiste working and stru

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40

Bogoslovskaya (Vyskochil), Nina A. "Affective evaluation of sounds by the students of creative professions." National Psychological Journal 51, no. 3 (2023): 128–36. http://dx.doi.org/10.11621/npj.2023.0312.

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Background. The present-day mass media and cinema specialists do not pay much attention to the environmental sounds for the effect of creation and putting the viewers and radio listeners into the appropriate emotional atmosphere during the film dubbing and cultural events scoring. Each acoustic event has a specific range and type of emotional impact on people, i.e. each separate sound has a different sort of influence on human beings and brings out specific emotions. Therefore, we come up with an idea that each acoustic event can be classified from the point of view of its emotional impact on

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41

Osberg, Richard H. "The Goldsmiths' “Chastell” of 1377." Theatre Survey 27, no. 1-2 (1986): 1–15. http://dx.doi.org/10.1017/s0040557400008772.

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Among the many devices of the pageant carpenter's art, including the Trees of Jesse, mountains “inuironed with red roses and white,” thrones of justice, dragons, and fonts, the castle had become, at least by the mid-fifteenth century, practically a cliché. Its origins as a pageant structure, however, have yet to be satisfactorily explained, and its iconography is still open to interpretation. Theatre historians have long been interested in the “castle” pageant that the Goldsmiths' guild organized for the coronation of Richard II because it is the first English civic pageant for which any detai

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Meyers, Cynthia B. "Advertising, the Red Scare, and the Blacklist: BBDO, US Steel, and Theatre Guild on the Air, 1945–1952." Cinema Journal 55, no. 4 (2016): 55–83. http://dx.doi.org/10.1353/cj.2016.0039.

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Usher, Brett. "The Jew that Shakespeare Drew." Studies in Church History 29 (1992): 279–98. http://dx.doi.org/10.1017/s0424208400011359.

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How far is it legitimate for a director to correct Shakespeare’s antisemitism in The Merchant of Venice?SO, begging a question or two, wrote the theatre critic Benedict Nightingale in a review of a recent London production of the play in which the Christians were portrayed as rabid Nazis. Almost fifty years after the Holocaust, it appears, it is still difficult for directors and critics alike to approach The Merchant without a feeling of unease. Current wisdom—or lingering guilt—insists that the play is, in a real and unacceptable sense, racist.

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Salter, Denis. "Who’s Speaking Here? Tremblay’s Scots Voice." Canadian Theatre Review 74 (March 1993): 40–45. http://dx.doi.org/10.3138/ctr.74.009.

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Since 1979, Martin Bowman and Bill Findlay have co-translated four of Michel Tremblay’s plays into Scots: Les Belles-soeurs (The Guid Sisters), Hosanna (as Hosanna), Le vrai monde? (The Real Wurld?), and, most recently, La maison suspendue (The House Among the Stars). In October 1992, Glasgow’s Tron Theatre Company presented its production of The Guid Sisters (directed by Michael Boyd) at the Centaur Theatre in Montreal, where it was both a critical and a popular success with sold-out performances during its three-week run. Despite finding the Scots translation somewhat difficult for the unini

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Im, Yeeyon. "Beyond the Gender Divide: Looking for Shakespeare in Han Tae-Sook’s Lady Macbeth." New Theatre Quarterly 32, no. 1 (2016): 19–30. http://dx.doi.org/10.1017/s0266464x15000834.

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Han Tae-Sook’s Lady Macbeth, a theatre adaptation by a leading woman director in Korea, has been interpreted largely from a feminist and intercultural perspective. In this article Yeeyon Im examines a body of criticism on Han’s production to raise awareness of the danger of totalization in current critical geography in Korea, which may marginalize non-ideological views. The humanist issues of evil, desire, and guilt, which are explicit themes of Lady Macbeth, have been neglected by critics in favour of discourses of difference. Yeeyon Im asks if ‘the subaltern can speak’ of universality, and c

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Szalad, Octavian. "Interdisciplinarity of Themes and Artistic Means in Matei Vișniec’s Drama for Children." CONCEPT 26, no. 1 (2024): 91–106. http://dx.doi.org/10.37130/9jgsdy57.

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   Matei Vișniec’s drama for children is built around the idea of interdisciplinary artistic creation and is dedicated to a highly receptive audience. Matei Vișniec is the investigative journalist who questions the truth of the plot through his characters; he is the philosopher who speaks about the ephemerality of earthly life; he is the moralist who analyses the transfer of guilt from the culprit to the vengeful victim; he is the sociologist who addresses the children left behind by their parents who have gone to work abroad; he is the political scientist who speaks about

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DAVIS, ANDREW, and HOWARD POLLACK. "Rotational Form in the Opening Scene of Gershwin's Porgy and Bess." Journal of the American Musicological Society 60, no. 2 (2007): 373–414. http://dx.doi.org/10.1525/jams.2007.60.2.373.

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Although George Gershwin's Porgy and Bess has the reputation of being casually constructed and amenable to cuts, a close look at the unexpurgated opera—including its first scene, the focus of this essay—reveals a through-composed work of considerable architectural complexity. Specifically, the opening scene may be understood as a rotational form—a large-scale organizational strategy in which thematic materials are restated cyclically—exhibiting teleological genesis—a procedure by which the form leads the listener gradually toward a goal-point or climax. In this particular case, two alternating

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Martinez, Dolores. "From ‘Scottish’ Play to Japanese Film: Kurosawa’s Throne of Blood." Arts 7, no. 3 (2018): 50. http://dx.doi.org/10.3390/arts7030050.

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Shakespeare’s plays have become the subject of filmic remakes, as well as the source for others’ plot lines. This transfer of Shakespeare’s plays to film presents a challenge to filmmakers’ auterial ingenuity: Is a film director more challenged when producing a Shakespearean play than the stage director? Does having auterial ingenuity imply that the film-maker is somehow freer than the director of a play to change a Shakespearean text? Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, igno

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Sozina, Elena K. "Theme of Theatre in the Works of D. N. Mamin-Sibiryak and A. N. Ostrovsky." Izvestia of the Ural federal university. Series 2. Humanities and Arts 26, no. 4 (2024): 72–90. https://doi.org/10.15826/izv2.2024.26.4.060.

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This article examines several aspects of the theme of the theatre that are significant to the works of the renowned playwright А. N. Ostrovsky as well as the “glorifier of the Urals” D. N. Mamin-Sibiryak. The resemblance to Ostrovsky in Mamin’s play The Gold Prospectors (At the Golden Bottom) (1887–1888) is evident at the level of material and subject matter. Both Mamin’s gold finder Molokov and Ostrovsky’s merchant Bolshov (It’s a Family Affair — We’ll Settle It Ourselves) experience a similar background of deliberate bankruptcy and subsequent failure. The article devotes particular attention

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Sanchis Francés, Raül, and José Maria Esteve-Faubel. "Historiografia del “Ball de Torrent”: De la moixiganga barroca al quadre de balls populars valencians (1692-1929)." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 1, no. 1 (2013): 240. http://dx.doi.org/10.7203/scripta.1.2586.

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Resum: El Ball de Torrent és una moixiganga dramàtica popular escenificada a la ciutat de València i altres indrets del País Valencià des de finals del segle XVII fins a principis del segle XX. Estava organitzada per agrupacions gremials, juntes d’hospitals o clavaris de festes i protagonitzada per personatges agrupats en comparses que representaven una paròdia sobre les relacions entre les estructures de poder i les classes populars. Tot i la variabilitat segons el moment històric, es conforma com una mescla de quadres amb danses, música i jocs teatrals. El ball interacciona de diverses forme

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