Relevant bibliographies by topics / Theater of Apollo Erethimios

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Academic literature on the topic 'Theater of Apollo Erethimios'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Theater of Apollo Erethimios"

1

Levy, James Anders. "Apollo Theater Oral History Project and the Apollo Theater Oral History Project at C.S. 154 , Harlem Apollo Theater and Columbia University Center for Oral History Center, 2008–present." Oral History Review 41, no. 1 (2014): 134–36. http://dx.doi.org/10.1093/ohr/ohu015.

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Gersht, Rivka. "Fragmentary Statue from Caesarea Maritima." Scripta Classica Israelica 7 (June 11, 2020): 53–57. https://doi.org/10.71043/sci.v7i.4697.

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Three possible identifications — Aphrodite, Hermes, Apollo — are considered for the fragmentary statue showing two feet poised on a tortoise, which was pulled out of sea northward of the theater of Caesarea Maritima. Written sources and archaeological finds indicate that images of Aphrodite, Hermes, and Apollo accompanied by a tortoise were known since the Archaic period, but only Aphrodite and Apollo were shown standing with two feet upon a tortoise.
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3

Gamel, Mary-Kay. ""Apollo Knows I Have No Children": Motherhood, Scholarship, Theater." Arethusa 34, no. 2 (2001): 153–71. http://dx.doi.org/10.1353/are.2001.0011.

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4

Wong, Carmin. "Such litany of survival did not begin with me &amp; Benediction, after April 4<sup>th</sup>." JCSCORE 11, no. 1 (2025): 41–43. https://doi.org/10.15763/issn.2642-2387.2025.11.1.41-43.

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Carmin Wong is Guyanese-born playwright, poet-organizer, and dual-title doctoral student in English &amp; Lit•orature and African American and Diaspora Studies at Pennsylvania State University. She is a proud graduate of Howard University and holds an MFA in poetry writing from the University of New Orleans. Carmin is the 2024-2025 Shirley Graham Du Bois Creative-in-Residence with Castle of Our Skins and the 2025 Teaching Artist with Girls Write Now NYC. As a performer, Carmin has brought her poetry to renowned stages, including Lincoln Center, The Apollo Theater, and The Nuyorican Poets Café.
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Solomon, Jon. "Apollo in Early Opera: Adapting His Multiple Ancient Cultic Functions to a Secular Renaissance Pantheon." Greek and Roman Musical Studies 13, no. 1 (2025): 193–215. https://doi.org/10.1163/22129758-bja10093.

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Abstract Apollo’s ancient origins resulted in a variety of cultic functions and mythological associations. As the Greco-Roman god of music, it was as if Apollo played a symbolic role in overseeing the development of late-Renaissance/early Baroque musical theater. His multiple cultic functions and associated mythological narratives enabled librettists to portray him on stage as not just the god of music and father of Orpheus, but also as the lover of Daphne, the slayer of the Python, the god of prophecy, the sun god, or a symbol of Neoplatonic Virtue or Christ. Not restricted to ancient narrati
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Griffin, Farah Jasmine. "Following Geri's Lead." Daedalus 148, no. 2 (2019): 13–22. http://dx.doi.org/10.1162/daed_a_01739.

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Drawn from a keynote delivered for Timeless Portraits and Dreams: A Festival in Honor of Geri Allen (Harvard University, February 16–17, 2018), this personal essay shares observations about Allen's intellectual and artistic leadership in diverse roles including bandleader, teacher, curator, and artistic visionary. In addition to discussions of Allen's music and recordings, this essay also focuses on her collaboration with the author and actor/director S. Epatha Merkerson, which resulted in two musical theater projects, Great Jazz Women of the Apollo (2013) and A Conversation with Mary Lou (201
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7

Foulkes, Julia L. "Review: Ain't Nothing Like the Real Thing: How the Apollo Theater Shaped American Entertainment." Public Historian 33, no. 3 (2011): 157–59. http://dx.doi.org/10.1525/tph.2011.33.3.157.

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8

Bishop, Rose. "« Tout le spectacle en une photo ». Gordon Anderson et la fabrique des stars à l’Apollo Theater de Harlem." Transbordeur 7 (2023): 74–85. http://dx.doi.org/10.4000/12gxl.

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Ce texte est le premier article portant sur l’œuvre de Gordon « Doc » Anderson, photographe autodidacte et entrepreneur présent au célèbre Apollo Theater de Harlem entre 1949 et 1976. Bien qu’il soit à l’origine du corpus documentaire le plus volumineux du théâtre, il n’était ni employé par l’Apollo ni journaliste. Il gagnait sa vie en vendant directement aux artistes en résidence, pour quelques dollars, des photomontages immortalisant leur passage. Ses compositions « maison », quelque part entre le cliché d’amateur et l’image médiatique, s’inspirent du traitement réservé à la représentation d
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9

Bascom, Lionel C. "Ain’t Nothing Like the Real Thing: How the Apollo Theater Shaped American Entertainment ed. by Richard Carlin and Kinshasha Holman Conwill." African American Review 45, no. 3 (2012): 490–91. http://dx.doi.org/10.1353/afa.2012.0056.

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Jaime, Karen. "“It Ain't Easy Being Green”: Race and Time in Stormé DeLarverie's Butch Swagger and Presence." QED: A Journal in GLBTQ Worldmaking 10, no. 3 (2023): 256–77. http://dx.doi.org/10.14321/qed.10.3.0256.

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Abstract In this article, the author analyzes the cultural, racial, sexual, and gendered politics that inform the staged and quotidian performances of masculinity by the late Stormé DeLarverie. A mixed-race butch lesbian male impersonator who, in the 1950s and 1960s, performed with the famed Jewel Box Revue, a racially integrated drag show at the Apollo Theater, DeLarverie was also a central figure in the 1969 Stonewall Riots. The author reaches across DeLarverie's personal history, life-long activism, and staged performances as a way to frame the relationship between DeLarverie's gender prese
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Books on the topic "Theater of Apollo Erethimios"

1

Renault, Mary. The mask of Apollo. Vintage Books, 1988.

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2

Ó Maoilearca, John, 1965- author and Bernard Courtney illustrator, eds. Get Ella to the Apollo. Calico, an imprint of Magic Wagon, 2015.

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3

Fox, Ted. Showtime at the Apollo. Da Capo Press, 1993.

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4

Carlin, Richard. Ain't nothing like the real thing: How the Apollo Theater shaped American entertainment. National Museum of African American History and Culture through Smithsonian Books, 2010.

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5

Marx, Trish. Steel drumming at the Apollo: The road to super top dog. Lee & Low Books, 2007.

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B, Senisi Ellen, ed. Steel drumming at the Apollo: The road to super top dog. Lee & Low Books, 2015.

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7

(Publisher), Smithsonian Books, ed. Ain't nothing like the real thing: How the Apollo Theater shaped American entertainment / [prepared by] Smithsonian Books. National Museum of African American History and Culture, 2010.

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8

Cooper, Ralph. Amateur night at the Apollo: Ralph Cooper presents five decades of great entertainment. HarperCollins Publishers, 1990.

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9

Dept, San Francisco (Calif ). Planning. Final negative declaration: [965 Geneva Avenue]. Planning Dept., 2002.

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10

Staff, Apollo Theater Foundation. Apollo Theater. Little Brown & Company, 2002.

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Book chapters on the topic "Theater of Apollo Erethimios"

1

Eller, Jonathan R. "Time Flies." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0026.

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The chapter documents Bradbury’s collaboration with composer-lyricist Jimmy Webb on a new 1989 musical stage version of Dandelion Wine, and the subsequent series of performances at Kermit Christman’s Palm Beach Shakespeare Festival Theater in Florida. “Time Flies,” Webb’s new song for the Florida production, would later be recorded by Linda Ronstadt, Rosemary Clooney, and Michael Feinstein. The chapter concludes with a summary of the third and fourth seasons of Ray Bradbury Theater and the successful negotiations to clear rights (with the NBC Chronicles mini-series producers and Disney Studios
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2

Crease, Stephanie Stein. "Showtime in the Theater Wars." In Rhythm Man. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190055691.003.0012.

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Abstract Since its opening in January 1934, the Apollo Theater was a hotspot for Black audiences and entertainers. Its biggest draw was the Wednesday Night Amateur contests, where Ella Fitzgerald won first prize in November 1934. This took place during the “Harlem Theater Wars” between Morris Sussman, the Apollo’s manager, and Frank Schiffman, manager of the Lafayette and the Harlem Opera House. The cutthroat competition ended in 1935 when Schiffman and Sussman agreed to co-run both houses. Webb benefited from the Theater Wars. His band had regular bookings at the Lafayette and Harlem Opera Ho
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3

Washburne, Christopher. "“El Tema del Apollo”." In Latin Jazz. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.003.0005.

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This chapter examines the relationship between African America, Latin America, and the Caribbean through the music and its associated performance practices realized on the stage of the Apollo Theater in Harlem from 1934 to the early 2000s. Through the lens of race, nation, and ethnicity, the complex and often tenuous relations among the diverse peoples who colluded and collided on the stage of the Apollo to produce some of the most significant and influential contributions to popular cultural expression in the United States throughout the twentieth century are explored. Though the Apollo is co
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4

Eller, Jonathan R. "A Poet’s Heart." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0024.

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In 1985 Bradbury was invited to testify before the National Commission on Space. Chapter 23 opens with Bradbury’s testimony highlights, which trace his notion that the life force expressed in the writings of George Bernard Shaw, Henri Bergson, and Nikos Kazantzakis was inextricably involved in the human desire to explore the cosmos. The chapter also shows how Bradbury further modified his cosmic vision in the wake of the Challenger Space Shuttle disaster in his Guest of Honor lecture at the 1986 Science Fiction World Con. The launch of the Ray Bradbury Theater television series, his brief corr
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Eller, Jonathan R. "A Promise of Eternity." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0034.

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In 1994 Bradbury placed six stories, more than he had in a number of years, but his fiction continued to miss the major market magazines. Chapter 33 documents the film projects of the mid-1990s—a Fahrenheit 451 screenplay for Mel Gibson, and a script for The Wonderful Ice Cream Suit under consideration with Disney. A collaboration with NASA artist Robert McCall, astronaut Buzz Aldrin, and special effects master Douglas Trumbull centered on an IMAX Corporation film theater project titled The City in the Stars, but Bradbury’s storyboard narrative was never produced. The chapter also describes Ra
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6

Eller, Jonathan R. "The ABCs of Science Fiction." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0031.

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Chapter 30 opens with a surprise proposal from Planetary Society founders Carl Sagan and Louis Friedman to send a digitized copy of works by the ABC authors—Asimov, Bradbury, and Clarke—to Mars in 1992. The Russian lander carrying this cargo failed, but an expanded version of the ABC project remained for a future American mission to attempt. Bradbury participated in the 1992 grand opening of the Euro Disney Resort and Park, where he had served as an occasional advisor to Imagineer executive Tim Delany as it was developed. The final episodes of the six-year Ray Bradbury Theater television serie
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7

Eller, Jonathan R. "Closing the Book." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0046.

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Chapter 45 concludes Bradbury Beyond Apollo with an assessment of his legacy, prefaced by an account of the memorial to Bradbury staged by the Planetary Society as the Mars rover Curiosity landed in early August 2012. Chapter 45 wraps up the three-volume biography with a summary of the well-known early story collections and novels that anchor Bradbury’s twenty-first century reputation, and a parallel summation of the important achievements of the last forty years of his career. These include The Halloween Tree’s affirmation of life over death, the six-year run of Ray Bradbury Theater, the role
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8

Eller, Jonathan R. "The God in Science Fiction." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0011.

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Bradbury’s successful 1977 stage adaptation of The Martian Chronicles with Terrence Shank and Paul Gregory opens chapter ten and leads into Bradbury’s fully realized understanding of Hamlet while attending Jack O’Brien’s production at San Diego’s Globe Theater. The chapter examines Bradbury’s influential Saturday Review essay “The God in Science Fiction,” which continues his exploration of the spiritual intersection between science and science fiction. His significant Los Angeles Times review of Close Encounters of the Third Kind embraced the film’s global spiritual implications. The chapter g
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9

Crease, Stephanie Stein. "Chasin’ the Blues Away." In Rhythm Man. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190055691.003.0015.

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Abstract When Ella Fitzgerald entered Webb’s world, he had plenty of airtime on nationwide radio and live Savoy broadcasts, and she was soon heard singing on the air. Decca producer Jack Kapp scheduled the band’s second recording date for June 12, 1935, at which Fitzgerald made her first recordings. In between trips that summer, Webb’s health was reported in the press for the first time. A month later Chick Webb and His Orchestra with Ella debuted at the Apollo Theater. A hit with Apollo audiences, they played there regularly over the next few years. Webb’s next Decca sessions were on October
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Taruskin, Richard. "Stravinsky Lite (Even “The Rite”)." In Text and Act. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195094374.003.0021.

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Abstract The first volume in Robert Craft’s planned Musicmasters recording of the complete Stravinsky (01612 67078; two CDs) includes an early warhorse, The Rite of Spring, and Stravinsky’s last major composition, Requiem Canticles, in which Mr. Craft competes against his own prior recording, executed in Stravinsky’s presence. There are three major Neoclassical scores, Oedipus Rex, the Symphony of Psalms, and the Symphony in Three Movements, and three lagniappes, Fanfare for a New Theater for two trumpets, a Fanfare for Three Trumpets originally intended as the opening of Agon, and the Pas de
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