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Bednarz, James P. "Jonson, Marston, Shakespeare and the Rhetoric of Topicality." Ben Jonson Journal 27, no. 2 (November 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 Harbage had assumed in his influential chapter on “The Rival Repertories” in Shakespeare and the Rival Traditions, Jonson and Marston's satire of each other's work used Paul's and Blackfriars to debate the question of the legitimacy of the drama they staged and the status of the writers who composed it. Their debate on what drama should and should not be constitutes one of the most significant critical controversies in early modern English theater. It constitutes part of the first significant criticism of contemporary drama in English. The point of this essay is to account for how, when Jonson began writing for the Children of the Chapel at Blackfriars in 1600, Marston at Paul's became one of his principal targets through personal invective framed as a series of generalized strictures excoriating the obscenity and plagiarism of contemporary private theater.
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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.
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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Frantzen, Allen J. "DRAMA AND DIALOGUE IN OLD ENGLISH POETRY: THE SCENE OF CYNEWULF'SJULIANA." Theatre Survey 48, no. 1 (April 25, 2007): 99–119. http://dx.doi.org/10.1017/s0040557407000385.
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InThe Semiotics of Performance, Marco de Marinis notes that the field of performance studies has greatly expanded the traditional categories of drama and theatre. “It is obvious,” he writes, “that we are dealing with a field that is far broader and more varied than the category consisting exclusively oftraditional stagings of dramatic texts, to which some scholars still restrict the class of theatrical performances.” A few scholars of early theatre history have embraced expanded categories of performance. Jody Enders's “medieval theater of cruelty,” for example, rests on a concept of “atheoryof virtual performance” that translates “into actual medieval dramatic practice.” Carol Symes's study of the “dramatic activity” suggested by medieval French manuscripts identifies “a vital performative element within the surrounding culture.” Both writers have shown how new ideas of performance enlarge the category beyond the “traditional stagings” described by de Marinis.
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Eriks Cline, Lauren. "The Long Run of Victorian Theater." Victorian Literature and Culture 48, no. 3 (2020): 623–31. http://dx.doi.org/10.1017/s106015032000025x.
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It's March 2020 as I write this, and the theaters are closed. Broadway is dark, and the Globe is once again shut due to a plague. Perhaps “self-isolation” is a strange condition under which to be thinking about crowded Victorian playhouses. As I make dates to watch movies with friends hundreds of miles away on the Netflix Party app, the media environment in which I pursue entertainment has perhaps never felt more dissimilar to that of nineteenth-century theatergoers. But, then again, maybe the photos of empty auditoria and deserted streets are the best demonstration of the space that public culture has taken up in our lives. The vacuum shows us that what's missing mattered. And if scholars of Victorian theater have shared a primary goal, it's to insist on how deeply the collective experience of playgoing influenced the everyday practices and beliefs of the period—even when theater and drama may not always appear on Victorian syllabi or conference programs. This essay considers three recent studies in Victorian theater—The Cambridge Companion to English Melodrama (2018), edited by Carolyn Williams; The Drama of Celebrity (2019), by Sharon Marcus; and Everyone's Theater: Literature and Daily Life in England, 1860–1914 (2019), by Michael Meeuwis—to register the force that theatrical performance exerted on Victorians and to explore how that force could change our sense of the field. By dwelling with archives and objects that might otherwise get classed as cultural “ephemera,” these studies push us to acknowledge that the run of Victorian theater hasn't ended. In the collective pause before a moment of intense feeling, or in a contradictory attachment to a public figure who is both imitable and extraordinary, they find a repertoire of spectator behavior from which many of our own modes of attention derive.
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Djaha, Siti Susanti Mallida. "THE EMERGENCE OF NEW MEDIUM." Notion: Journal of Linguistics, Literature and Culture 1, no. 1 (May 30, 2019): 21. http://dx.doi.org/10.12928/notion.v1i1.712.
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This study aims at finding the development of new medium of drama in English literary history. From the very first emergence of drama, the plays that have been written were performed in the theater and in many kinds of theater were appears to represent some ideas from the society. As time passing by, these kind of theater had a kind of transformation to be the new medium that we called motion picture. This motion picture began with the silent movie, then it became the talking picture, and it was improved to be the cinema. In its development until today, which we had been known as the movie. This new medium emerged to replace the live theater performance especially in Edwardian era.
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JUNG, Youmi. "Women and Theater: Recent Studies in Early Modern English Drama." In/Outside: English Studies in Korea, no. 50 (May 2021): 153–75. http://dx.doi.org/10.46645/inoutsesk.50.5.
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Komporaly, Jozefina. "Translating Hungarian Drama for the British and the American Stage." Hungarian Cultural Studies 14 (July 16, 2021): 164–75. http://dx.doi.org/10.5195/ahea.2021.434.
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Reflecting on my experience of translating contemporary Hungarian theater into English, this paper examines the fluidity of dramatic texts in their original and in translation, and charts collaborations between playwrights, translators and theater-makers. Mindful of the responsibility when working from a “minor” to a “major” language, the paper signals the discrepancy between the indigenous and foreign ‘recognition circuit’ and observes that translations from lesser-known languages are predominantly marked by a supply-driven agenda. Through case studies from the work of Transylvanian-Hungarian playwright András Visky, the paper argues that considerations regarding such key tenets of live theater as “speakability” and “performability” have to be addressed in parallel with correspondences in meaning, rhythm and spirit. The paper also points out that register and the status of certain lexical choices differ in various languages. Nuancing the trajectory of Visky’s plays in English translation, this paper makes a case for translations created with and for their originals, in full knowledge of the source and receiving cultures, and with a view to their potential in performance. The paper posits the need for multiple options encoded in the translation journey, including hypothetical concepts for future mise-en-scène, and situates the translator as a key participant in the performance making process.
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Truc, Le Quang. "Theater in education at Ho Chi Minh City Open University in Vietnam: students’ awareness of benefits and challenges in English and American literature classes." SOCIAL SCIENCES 9, no. 1 (June 2, 2020): 28–47. http://dx.doi.org/10.46223/hcmcoujs.soci.en.9.1.269.2019.
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This study examined whether the students participating in the drama program “THEATER IN EDUCATION: English and American Literature Classes’ Performances, 2017” at Ho Chi Minh City Open University in Vietnam perceived the benefits and challenges of the Theater in Education method as demonstrated in previous research in the field of foreign language learning. The data needed was collected by means of a questionnaire that consisted of seven questions. Similarities and differences between the findings of the study and what had been reported in previous research studies were then discussed. Hopefully, this study is informative for those interested in the adoption of the Theater in Education method in foreign literature classes at the faculty of foreign languages of a university.
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Minier, Márta. "Translating Welsh Drama Into Hungarian Through English: A Contextual Introduction to Sêra Moore Williams’ Crash in Hungarian Translation." Hungarian Cultural Studies 6 (January 12, 2014): 176–86. http://dx.doi.org/10.5195/ahea.2013.120.
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This article offers a predominantly contextual introduction to my translation of a contemporary Welsh play by Sêra Moore Williams, Crash (2004), into Hungarian. Williams' three-person drama for young people was written originally in the author's native language, Welsh, and translated into English by the playwright herself. In my translation process of the play from English to Hungarian the intermediary role played by English raises ethical concerns from a postcolonial perspective, while in a pragmatic sense it is almost a necessity to rely on it when communicating Welsh-language cultural production to the broader international public, including to other minor languages. The article will place the drama in its generic context, introducing the play as a Theater in Education piece, as Williams' work has been inspirational in the development of tantermi színház [classroom theater] in Hungary since the early 2000s. As a specific case study within the case study, the additional discussion of the translation of Williams' polysemic title will provide an insight into the role such a significant paratext plays in uprooting a dramatic text from one culture to another.
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Westgate, J. Chris. "David Hare's Stuff Happens in Seattle: Taking a Sober Account." New Theatre Quarterly 25, no. 4 (November 2009): 402–18. http://dx.doi.org/10.1017/s0266464x09000682.
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As The Power of Yes, the third play by David Hare to document recent history, opens at London's National Theatre, J. Chris Westgate examines in this article Hare's Stuff Happens in a regional production in the United States, at Seattle's A Contemporary Theater in 2007. He tracks the emphasis placed on controversy during the advertising and marketing of the play, which stands in direct contrast to the response to the play, which was received with self-satisfaction rather than increased insight in this highly liberal city. From this contrast, he discusses the way that this production of Hare's play – and the play itself – fails to produce controversy because it never holds those actually attending US productions as accountable for the Iraq War. Controversy, then, becomes a marketing device rather than a way of challenging the status quo. J. Chris Westgate is Assistant Professor in English and Comparative Literature at California State University, Fullerton. He has recently edited an anthology of essays entitled Brecht, Broadway, and United States Theatre and has published articles in Modern Drama, Theatre Journal, and The Eugene O'Neill Review.
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Maguire, Nancy Klein. "The Theatrical Mask/Masque of Politics: The Case of Charles I." Journal of British Studies 28, no. 1 (January 1989): 1–22. http://dx.doi.org/10.1086/385923.
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Britain now wear's the sock; the Theater's clean Transplanted hither, both in Place and Scene.Martin Butler and Jonathan Dollimore have recently documented the importance of drama in English political life before 1642. Such scholarship, however, has stopped cold at the great divide of 1642. Except for Lois Potter in “‘True Tragicomedies’ of the Civil War and Interregnum,” no one has considered the relationship between politics and theater while the theaters were officially closed. Scholars have thereby missed a seminal question in understanding the discourse and complex political maneuvering enveloping the act of regicide in 1649. What is the relationship between the theatrical tradition and the execution of Charles I?Even though historians frequently comment on the “tragic” nature of the execution of Charles I, thus far neither historian nor literary person has bothered to examine the immediate and popular reactions to the act of regicide. This is understandable. An odd mix of imaginative projection and verifiable fact enshrines the execution of Charles, and documentation is admittedly difficult. The available assortment of primary literature, however, indicates that many Englishmen responded to the execution as theater, more specifically, the dramatic genre of tragedy. A 1649 sermon (attributed to the Royalist Robert Brown) exemplifies both the tragic response to the act of regicide and the mid-century employment of the theatrical tradition: Brown describes the execution as “the first act of that tragicall woe which is to be presented upon the Theater of this Kingdome, likely to continue longer then the now living Spectators.”
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Schewe, Manfred, and Susanne Even. "What exactly is an apple pie? Performative arts and pedagogy: Towards the development of an international glossary." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (July 1, 2016): 65–81. http://dx.doi.org/10.33178/scenario.10.2.6.
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Please note that this is a slightly edited version of the group discussion. Scenario wishes to acknowledge the vital contribution of Josephine Rutz by expressly thanking her for the transcription of the discussion. MS: Welcome everyone to this afternoon’s group discussion as part of the 4th SCENARIO FORUM Symposium. As you have read in the Symposium programme the German professional association Bundesarbeitsgemeinschaft (BAG) Spiel & Theater e.V. aims to develop an international glossary of key terms in the area of applied drama and theatre and has invited professionals from outside Germany to become involved in this project. Thank you for coming along to this session which is the first brainstorming session on the topic of an international glossary in the area of Performative Arts and Pedagogy. The participants in today’s group discussion are based at institutions in English speaking countries. I wish to thank especially our guests from abroad for their contributions to the Symposium: Barbara Schmenk from Canada, University of Waterloo; Katja Frimberger from Britain, Brunel University, London and Mike Fleming, University of Durham; and, of course, also a big thanks to my university colleagues Róisín O’Gorman and Bernadette Cronin, based in the Department of Drama and Theatre Studies ...
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Keener, Andrew S. "Japan Dramas and Shakespeare at St. Omers English Jesuit College." Renaissance Quarterly 74, no. 3 (2021): 876–917. http://dx.doi.org/10.1017/rqx.2021.103.
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This essay examines how Catholics at the English Jesuit College at Saint-Omer reflected on Japanese religious politics during the 1620s and 1630s, both through translated mission reports and drama. This analysis expands scholars’ view of English encounters with Japan; it also decenters predominantly Eurocentric approaches to early modern Jesuit education and theater. The essay concludes with a discussion of Shakespeare and George Wilkins's “Pericles,” a quarto playbook of which was possessed by St. Omers and which, through the generic elements of romance it shared with the Japan material, provided further opportunities for the college's Catholics to consider transcontinental religious politics.
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Roberts, Matthew. "Ajax in America, or Catharsis in the Time of Terrorism." New Theatre Quarterly 36, no. 4 (November 2020): 306–19. http://dx.doi.org/10.1017/s0266464x20000652.
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Originally funded by the US Department of Defense in 2009, Theater of War Productions’ first project, Theater of War, performs dramatic readings of Ajax at military bases, hospitals, and academic institutions throughout the United States. Developed by Bryan Doerries, Theater of War brings awareness to the epidemic of suicide and other forms of violence committed by American military service members in the wake of the United States’ so-called ‘war on terror’. But like Ajax, American military personnel typically turn to violence only after being betrayed by the institutions that they served. This article follows how Ajax’s more modern manifestation disrupts the tragic protagonist’s status as a sacrificial victim whose death precipitates tragedy’s cathartic effect, and challenges what René Girard calls the ‘scapegoat mechanism’ and its socio-political function. It argues that Ajax’s appearance as a cathartic figure in American society provokes spectators and artists to reckon with the conditions that can cause military personnel to act violently, and inspires protests against broader hegemonic socio-political structures and the military culture that sustains them. Matthew Roberts is Assistant Professor and Librarian for Comparative and World Literature, English, and Drama at the University of Illinois at Urbana-Champaign.
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Bross, Martina. "Das englische Drama und Theater von den Anfängen bis zur Postmoderne." Zeitschrift für Anglistik und Amerikanistik 66, no. 4 (December 19, 2018): 479–81. http://dx.doi.org/10.1515/zaa-2018-0039.
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Lee, Josephine. "Disciplining theater and drama in the English department: Some reflections on ‘performance’ and institutional history." Text and Performance Quarterly 19, no. 2 (April 1999): 145–58. http://dx.doi.org/10.1080/10462939909366256.
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Dahl, Christian. "Slagscener i det elizabethanske teater." Passage - Tidsskrift for litteratur og kritik 33, no. 80 (December 23, 2018): 125–44. http://dx.doi.org/10.7146/pas.v33i80.111728.
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Christian Dahl: “Battle scenes in the Elizabethan theater”This article analyses the widespread use of staged battle in Elizabethan theater by use of data extracted from Folger Library’s Digital Anthology of Early English Drama. Between 1576 and 1616, hundreds of battle scenes were produced on English stages but although a substantial number is still available for study, only few scholars have recognized their significance. The many battle scenes both attest to the Elizabethans’ vivid interest in history and to the cultural impact of England’s increasing military engagement on the Continent and in Ireland at the end of Elizabeth’s reign. It is often assumed that histories and battle scenes were particularly popular in the 1590’ies and then fell out of fashion early in the 17th century, but the article demonstrates that staged war remained a frequent occurrence in the first two decades of the century and never disappeared entirely. The article discusses visual and, in particular, acoustic representation of warfare based on the evidence of surviving plays and other documents. The article will also (very) briefly sketch the narrative development of battle scenes that took place in the 1590ies.
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Lal, Ananda. "Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India. By Nandi Bhatia. Ann Arbor, MI: University of Michigan Press, 2004; pp. vi + 206 pp. $49.50 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 311–13. http://dx.doi.org/10.1017/s0040557405210207.
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There are few dependable books in English on political theatre in India. Professor Bhatia's collection of essays, therefore, fills a long-felt need. She introduces the subject contextually, followed by four chapters chronologically examining key areas (British censorship of nationalistic drama, Indianizations of Shakespeare as an anticolonial statement, the Indian People's Theatre Association as a mass phenomenon in the mid-twentieth century, and Utpal Dutt's reinterpretation of Raj history in his play The Great Rebellion 1857), and concludes with a short epilogue on contemporary activist theatre by women. Most valuably for theatre historians, she places in the public domain many primary sources previously untapped in English, and unearths much secondary material that has escaped academic attention. Not least of all, she writes articulately and readably.
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Donnery, Eucharia. "Process Drama in the Japanese University Classroom: Phase Three, The Homelessness Project." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 1 (January 1, 2016): 18–32. http://dx.doi.org/10.33178/scenario.10.1.2.
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The purpose of this paper is to describe the third phase of a process drama project, which focused thematically on the social issue of homelessness. Two classes of the elective English Communication course took part in this project twice weekly for ten weeks, in which the students examined homelessness from the perspectives of Japanese-Americans incarcerated in internment camps during World War II. The goal of the project was for students to develop an understanding of homelessness, while simultaneously losing awareness of English as a dreaded examination subject, and using the target language as a viable communicative tool instead. The techniques used in this project were manifold: tableau, family role-play, class role-play, writing-in-role, reaction-writing, research online in both Japanese and English to examine the nature of propaganda, online class discussions, as well as a guest lecturer session with a refugee speaker1. The trajectory of this discussion moves along a traditional Japanese Noh theater three-part narrative arc, called Jo-Ha-Kyu , “Enticement・Crux・Consolidation”.
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Klapicova, Edita Hornackova, and Megan Reister. "The very Hungry Caterpillar: Story Reading as an Effective Strategy Toward Achieving Proficiency in Efl in very Young Learners." Seminare. Poszukiwania naukowe 2020(41), no. 4 (December 31, 2020): 139–53. http://dx.doi.org/10.21852/sem.2020.4.12.
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This article examines how the use of music, tangible objects, story-reading, hands-on activities, drama activities, and Readers Theater strategy can help very young learners to become proficient in English as a foreign language. The present study is based on an English lesson taking place in a kindergarten in Lower Austria. There were two target groups of three to six year old children, one consisting of 25 learners and one consisting of 24 learners. English as a second language was taught to them in a naturalistic way for the period of three years. The learners’ language skills and communicative competence in English were assessed through three different oral tests during the lesson. The results of the tests proved that the learners had already acquired a high level of proficiency in EFL as a result of the effective teaching strategies used in their English program and were capable of acquiring new vocabulary and meanings during the current English lesson.
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Hassan, Waïl S. "Oyono in Arabic." PMLA/Publications of the Modern Language Association of America 128, no. 1 (January 2013): 127–32. http://dx.doi.org/10.1632/pmla.2013.128.1.127.
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A rendition by nayif kharma of michael etherton's theatrical adaptation of john reed's english translation, the arabic version of Ferdinand Oyono's novel Une vie de boy is at three removes from the original French. Under the title Al-khādim (“The Servant”), the play appeared in 1982 in the series Min al-masrah al-'ālami (“From World Theater”), published by Kuwait's Ministry of Culture. Since to all effects and purposes Etherton's theatrical adaptation is Kharma's original, it is necessary to begin by describing how the Zambian-born British writer who taught drama at the University of Zambia in the 1960s adapted his source, Reed's Houseboy, before discussing how the play was later Arabized.
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Garner, Stanton B. "History in the Year Two: Trevor Griffiths's Danton." New Theatre Quarterly 11, no. 44 (November 1995): 333–41. http://dx.doi.org/10.1017/s0266464x00009313.
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For British dramatists nurtured in and by the hopes for socialism which characterized the 'sixties and the 'seventies, the Thatcherite period – with the eclipse of a fatally flawed communist system as its international dimension – demanded not only new thinking, but at least the consideration of a new dramaturgy. Stanton B. Garner, Jr., here explores the ways in which one of the most consistently committed of contemporary writers, Trevor Griffiths, confronts in Hope in the Year Two, his play about the death of the French Revolutionary Danton, the dilemma not only of the revolutionary hero, but of the dramatist confronted with attacks upon the concept of history itself, whether from the gurus of post-modernism or of the New Right. Stanton B. Garner, Jr., teaches modern drama in the English Department at the University of Tennessee. He is the author of The Absent Voice: Narrative Comprehension in the Theater (1989) and Bodied Spaces: Phenomenology and Performance in Contemporary Drama (1994). His current research interests include post-Cold War British drama.
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Subrata Saha, Asoke Howlader, Arindam Modak,. "THEATER AND HEALTH EDUCATION: REPRESENTATION IN SELECT PLAYS OF MAHESH DATTANI." Psychology and Education Journal 58, no. 2 (February 1, 2021): 3982–88. http://dx.doi.org/10.17762/pae.v58i2.2668.
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Theater plays a crucial role to represent the life and manners of a particular society. It acts as an informal tool for developing consciousness and promoting empowerment through education. Contemporary theater in India is no exception to this. It has the efficacy to build critical awareness among common people in general and women in particular. It critiques the social inequality and opens up the scope for bringing consciousness about gendered violence prevalent in contemporary Indian society. From 1970s onwards, the emergence of urbanization and industrialization had offered various opportunities for people irrespective of gender differences. Yet, it could not suppress the ‘other side’ of violence in Indian society. Mahesh Dattani, a pioneer in the world of modern Indian English Theater, is highly regarded as a social critic of contemporary urban life and manners. He sincerely presents dysfunctional families, individual dilemmas and societal problems, and gender issues including forbidden issues in his plays. As a conscious dramatist, Dattani reveals childhood maltreatment in his plays which focus on physical and mental illnesses among victims. He tries to sensitize the common people by representing the impact of discrimination on health as it is seen to be fatal in women. The present paper intends to analyze the impact of gender bias on women’s health as represented by Mahesh Dattani in his plays – “Tara” and “Thirty days in September.” In doing so, it embraces the educational implication of dramas through theater.
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Weaver, Erica. "Performing (In)Attention." Representations 152, no. 1 (2020): 1–24. http://dx.doi.org/10.1525/rep.2020.152.1.1.
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The central regulatory document of the tenth-century English Benedictine Reform, Æthelwold of Winchester’s Regularis concordia, contains an important performance piece: the Visitatio sepulchri, which standard theater histories understand as an anomalous originary text that marks the reemergence of drama in the European Middle Ages. This article resituates it alongside the schoolroom colloquies of Æthelwold’s student Ælfric of Eynsham and his student and editor Ælfric Bata to argue that these texts together cultivated monastic self-possession by means of self-conscious performances of its absence. By staging (in)attention, they thereby modeled extended engagement in moments and spaces that could otherwise seem too quiet or empty to hold concentration for long, from the classroom to the sepulcher to the page, while also exposing the limits of “distraction” and “attention” as analytical terms.
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Gupta, Yashasvi. "STAGE TECHNOLOGY IN THE MODERN ERA." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3416.
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The specific place where the artist sits for the presentation of any art or specific ideas is called the stage. This is also called theater because pigmentation is its main subject. In Western countries or the English language, it is called a stage. It seems that theater was prevalent among the deities even before the emergence of humans. Like Kailash festival of Lord Shiva, Mata Vagishwari sitting on a peacock with a veena in her hand and dancing in the court of Indra to Gandharva, Kinnar, and Apsaras only indicate the existence of the stage. According to the tradition of Indian music and drama, theater is first mentioned in the famous scripture Natya Shastra of Sanskrit literature. In ancient times, when the sage Muni used to do penance, he used to be in a tomb at some high place. Similarly, kings and emperors etc. used to address the meeting only after sitting on any highest posture. Because art is an essential part of life, it is natural to develop artistic elements along with the development of civilization and culture. A modern form of stage or theater can be achieved as a result of this long sequence of development.
किसी भी कला अथवा विशिष्ट विचारों की प्रस्तुति के लिए कलाकार जिस विशिष्ट स्थान पर विराजमान होते हैं उसे मंच कहा जाता है। रंजकता इसका प्रमुख विषय होने के कारण इसी को रंगमंच भी कहते हैं। पाश्चात्य देशों अथवा अंग्रेजी भाषा में इसे स्टेज कहा जाता है। ऐसा प्रतीत होता है कि मानव के उद्भव से पूर्व भी रंगमंच देवी देवताओं में प्रचलित था। जेसे भगवान शिव का कैलाश पर्व, माता वागीश्वरी का हस्त में वीणा लेकर मयूर पर बैठना तथा इन्द्र के दरबार में गांधर्व, किन्नर, एवं अप्सराओं को नृत्य आदि मंच के अस्तित्व की ओर ही संकेत करते हैं। भारतीय संगीत एवं नाट्य परम्परा के अनुसार सर्वप्रथम संस्कृत साहित्य के सुप्रसिद्ध ग्रंथ नाट्य शास्त्र में रंगमंच का उल्लेख मिलता है। प्राचीनकाल में ऋषि मुनि जब तपस्या करते थे तो किसी न किसी उच्च स्थान पर समाधिस्थ होते थे। इसी प्रकार राजा व सम्राट आदि भी किसी उच्चतम आसन पर आसीन होकर ही सभा को संबोधित किया करते थे। क्योंकि कला जीवन का एक अनिवार्य अंग है, अतः सभ्यता एवं संस्कृति के विकास के साथ-साथ कलात्मक तत्वों का विकास होना भी स्वाभाविक है। विकास के इसी लम्बे क्रम के परिणाम स्वरूप मंच अथवा रंगमंच का आधुनिक रूप प्राप्त हो सकता है।
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Rudolph, Julia. "Rape and Resistance: Women and Consent in Seventeenth-Century English Legal and Political Thought." Journal of British Studies 39, no. 2 (April 2000): 157–84. http://dx.doi.org/10.1086/386215.
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During the Exclusion crisis, the figure of a tyrant rapist, a ruler undone by his own lust and cruelty, briefly appeared on the London stage. Early in December 1680, Nathaniel Lee's Lucius Junius Brutus was performed by the Duke's Company in the Dorset Garden Theater. Lee's play recounted the tale of the rape of Lucretia and the subsequent actions taken by Brutus in resistance to this act of tyranny. This theatrical production was by all accounts a success, yet the play was banned from the stage after only six days; the order of the Lord Chamberlain stated objections to its “very Scandalous Expressions & Reflections upon ye Government.” Lee's Brutus was, however, soon available in print, published by Richard and Jacob Tonson in June of 1681. Like other Exclusion publications, Brutus offered a powerful argument against tyranny and arbitrary government, and the play was evidently construed as an attack on the Stuart monarchy. Many modern commentators have specifically noted the anti-Catholic overtones of Lee's drama and have read it within the context of the Popish Plot scare. Yet the central theme of Lee's play is, of course, the association between tyranny and rape: it is the tyrant's violation of woman (not of religion) that justifies resistance. In Lee's drama, just as in Livy's history, the chaste and honorable Roman matron Lucretia is raped by “the lustful bloody Sextus,” a prince of the proud and tyrannical house of Tarquin. In both stories, Lucretia's rape and her subsequent suicide set off a train of revolutionary events: Brutus seizes the bloody knife from Lucretia's twice-violated body and, holding it to his lips, vows with his fellow Romans never to suffer Tarquin “nor any other king to reign in Rome.”
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Khokhlova, Daria. "To the question of choreographic interpretation of male images of W. Shakespeare’s drama of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon." Культура и искусство, no. 10 (October 2020): 1–16. http://dx.doi.org/10.7256/2454-0625.2020.10.33879.
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The subject of this article is the interpretation of male images from W. Shakespeare’s “The Winter’s Tale” by the choreographer C. Wheeldon in the context of its conceptual commonality with the literary original. The goal of this research is to determine the stage means and elements of choreographic language used by the choreographer for creation of male roles, as well as to draw ideological-imagery parallels with the original text. Methodological foundation of this study features the principles of critical analysis of text of the play along with the semantic analysis of choreography, developed in the scientific works of such theoreticians of ballet art as Lopukhov, Dobrovolskaya, Krasovskaya, Surits, Slonimsky. Comprehensive approach towards interpretation of the literary original on the modern ballet stage required the analysis of such sources, as the English-language peer reviews of the world premiere of the ballet and video materials from the archives of the Royal Opera House in London and the Bolshoi Theater in Moscow. The author also applied the method of overt observation based on the personal experience of working with Wheeldon in Bolshoi Theatre, and accompanied by the analysis of rehearsals from the author's archive (over the period from March to April 2019). The author carried out a detailed semantic analysis of the stage interpretation and choreographic language of the male images of W. Shakespeare's play of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon (which served as the key instrument for this research). The conclusion is made that the conceptual ground of Wheeldon’s interpretation of the male images is based on the Shakespeare’s text adapted to the realities of a stage performance. He employs a wide array of plasticity and other innovative means of expression, applying an individual approach towards staging each male role.
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Диянова and O. Diyanova. "The Role of the Literary Theatrical Project in the Development of the Sociocultural Competence on English Classes (Based on Work Experience)." Socio-Humanitarian Research and Technology 4, no. 2 (June 17, 2015): 14–17. http://dx.doi.org/10.12737/11930.
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In this article the author shares her experience on how
to develop sociocultural competence by means of the literary and
theatrical project on English classes. The Author´s need of appealing
to the study of literature and theatreof the country which language
is learned is caused by the nowadays increased necessity in
cross-cultural communication and cooperation.
The search for the solution led to the idea to organize the process
of training English language on the basis of modern educational
technologies allowing to improve educational process, to increase
efficiency and quality of its organization. The method of projects
became one of the primary ones. The author offers the creative
project "Literary Drawing Room" with staging elements allowing
to create the language environment, maintaining interest in studying
of English and motivation for the new knowledge.
The theatrical project became another integral part of the educational
process organized by the author of this article. She refers to
the prominent educatorswho proved the expediency of carrying out
theatrical classes in general education process.
The participation of the drama school headed by the author of this
article in the International Theater Festivals in Russia and abroad,
receiving Grants and recognition are a bright confirmation of the
right choice of the literary and theatrical project as a way to polycultural
personality formation prepared for cross-cultural communication.
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Fareeha Zaheer. "Theatrical Milieu: Investigating Drama and Theatre in tandem with Socio-Political Landscape of Pakistan." sjesr 4, no. 2 (May 25, 2021): 278–87. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(278-287).
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This study is an attempt to trace the impacts of socio-political conditions in the formation and evolution of drama and theatre traditions in Pakistan. It provides the genesis of theatre and drama in Pakistan intertwining it with the past and present situations of this genre of literature. It also ventures at the inert position of drama and theatre in English in Pakistan. Qualitative textual analysis is conducted to analyze and highlight the major available critical acumen in the genre of Pakistani drama and theatre. The methodology adopted is interpretive of the theatrical performances by major theatre groups, and the contributions of key playwrights in cementing the foundation of drama and theatre traditions. The major findings are related to the socio-political situations prevalent since the inception of Pakistan and their significance in shaping both dramas in writing and drama in performance. It also examines the role of pioneer theatrical groups and their projects that carved a niche in the theatrical landscape of Pakistan. As compared to fiction theatre and drama remained sporadic and lackluster affair in Pakistan, it is vital to have a deeper understanding and clarity of the socio-political issues that shaped resistance &political theatres and later commercial theatre groups.
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Deutermann, Allison K. "Staging the Blazon in Early Modern English Theater. Deborah Uman and Sara Morrison, eds. Studies in Performance and Early Modern Drama. Farnham: Ashgate Publishing Limited, 2013. xi + 220 pp. $99.95." Renaissance Quarterly 68, no. 2 (2015): 771–72. http://dx.doi.org/10.1086/682539.
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Glosemeyer, Robin. "Yale Drama Theater." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2439. http://dx.doi.org/10.1121/1.4781766.
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Kastleman, Rebecca. "16Performance, Theater, Drama." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 303–23. http://dx.doi.org/10.1093/ywcct/mbz016.
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Abstract The year 2018 was an especially fruitful and wide-ranging one for theater and performance studies. Several major monographs deepened discussion in established subject areas within the field, while new methodological approaches emerged, opening fresh directions in scholarship. This review focuses on four major areas of conversation that shaped the field in 2018: 1. Expanding Performance Aesthetics; 2. Economic and Material Contexts of Performance; 3. Enacting Public Justice; and 4. Performance on the Move.
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Cohn, Ruby. "Theater in Recent English Theater." Modern Drama 30, no. 1 (March 1987): 1–13. http://dx.doi.org/10.3138/md.30.1.1.
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Trussler, Simon. "Theatre Practice, Theatre Studies, and ‘New Theatre Quarterly’." New Theatre Quarterly 1, no. 1 (February 1985): 3–6. http://dx.doi.org/10.1017/s0266464x00001378.
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The original series of Theatre Quarterly ran for ten years and forty issues, from 1971 to 1981. The relaunched journal intends to continue the best traditions of the old, while reflecting the changes that have overtaken the English-speaking theatre in the intervening years. Simon Trussler, who was an editor of the old TQ throughout its existence, here offers some personal reflections on the appearance of New Theatre Quarterly, the present mood of the theatre, and the challenges now facing theatre practitioners and researchers alike. Simon Trussler is also author of over twenty books and monographs on theatre, was drama critic of Tribune from 1966 to 1972, and currently teaches in the Drama Departments of Goldsmiths' College, University of London, and the University of Kent. Clive Barker, his associate editor on TQ since 1978, joins him as co-editor of the new journal. Formerly an actor with Joan Littlewood's Theatre Workshop, and author of the influential guide to actor training Theatre Games, Clive Barker is currently Senior Lecturer in Theatre Studies in the University of Warwick.
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Wozniak, Heather Anne. "THE PLAY WITH A PAST: ARTHUR WING PINERO'S NEW DRAMA." Victorian Literature and Culture 37, no. 2 (September 2009): 391–409. http://dx.doi.org/10.1017/s1060150309090251.
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In the late Victorian period, when writers, critics, and actors of the English theatre became obsessed with defining a decidedly New Drama – with establishing its history, directing its progress forward, and creating a literary drama – the majority of the plays produced focused upon forms of femininity. Strangely, these innovative dramas engaged not with the future, but with an all-too-familiar stock character: the woman with a past. This well-known type was “a lady whose previous conduct, rightly or wrongly, disqualified her from any position of rank or respect” (Rowell 108–09). Familiar examples of such plays include George Bernard Shaw's Mrs. Warren's Profession (1893) and Oscar Wilde's Lady Windermere's Fan (1892); lesser-known ones include Henry Arthur Jones's Case of Rebellious Susan (1894) and two plays that form the focus of this essay, Arthur Wing Pinero's The Second Mrs. Tanqueray (1893) and The Notorious Mrs. Ebbsmith (1895). Several English theatre historians (including Richard Dietrich and Jean Chothia) present these plays as the basis of modern intellectual drama, yet none explains the paradox that the theatre of modernity is founded upon the woman with a past, a figure whose future in these plays is foreclosed or ambivalently conceptualized at best.
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Urban, Eva. "Multilingual Theatre in Brittany: Celtic Enlightenment and Cosmopolitanism." New Theatre Quarterly 34, no. 3 (July 13, 2018): 283–97. http://dx.doi.org/10.1017/s0266464x1800026x.
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In this article Eva Urban describes a historical tradition of Breton enlightenment theatre, and examines in detail two multilingual contemporary plays staged in Brittany: Merc’h an Eog / Merch yr Eog / La Fille du Saumon (2016), an international interceltic co-production by the Breton Teatr Piba and the Theatr Genedlaethol Cymru (the Welsh-language national theatre of Wales); and the Teatr Piba production Tiez Brav A Oa Ganeomp / On avait de jolies maisons (2017). She examines recurring themes about knowledge, enlightenment journeys, and refugees in Brittany in these plays and performances, and presents the argument that they stage cosmopolitan and intercultural philosophical ideas. Eva Urban is Senior Research Fellow at the Senator George J. Mitchell Institute for Global Peace, Security and Justice, Queen's University Belfast. She has held a Région de Bretagne Postdoctoral Research Fellowship at the Centre for Breton and Celtic Studies, University of Rennes 2, a research lectureship in the English Department, University of Rennes 2, and a British Academy Postdoctoral Fellowship at the University of Cambridge. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011) and has published articles in New Theatre Quarterly, Etudes Irlandaises, Caleidoscopio, and chapters in book collections.
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Kovács, Gabriella. "Applied Drama and Theatre – Drama Techniques in Teaching English for Specific Purposes." Acta Universitatis Sapientiae, Philologica 6, no. 3 (December 1, 2014): 391–409. http://dx.doi.org/10.1515/ausp-2015-0026.
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AbstractTheatre is a source to which teachers often turn for fresh ideas and methods. This study tries to unfold and follow the path which leads from theatre and drama to institutional education, and reveal the complex interdisciplinary connections and relations which have made it possible to use some of the experiences and methods accumulated in the field of actor training and applied drama and theatre in teaching English for specific purposes.
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Limon, Jerzy. "Waltzing in Arcadia: a Theatrical Dance in Five Dimensions." New Theatre Quarterly 24, no. 3 (August 2008): 222–28. http://dx.doi.org/10.1017/s0266464x08000286.
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Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoided the confusion and chaos which would have inevitably resulted if the two melodies were played on the stage simultaneously. Jerzy Limon is Professor of English at the English Institute at the University of Gdańsk. His main area of research includes the history of English drama and theatre in the sixteenth and seventeenth centuries, and various theoretical aspects of theatre. His most recent works, published in 2008, include a book on the theory of television theatre, Obroty przestrzeni (Moving Spaces), two chapters in books, and articles in such journals as Theatre Research International, Shakespeare Jahrbuch, Journal of Drama Theory and Criticism, and Cahiers élisabéthains.
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Hidaka, Takayuki, and Leo L. Beranek. "Drama Theater of the New National Theater (NNT), Tokyo, Japan." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2439. http://dx.doi.org/10.1121/1.4781835.
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Fokin, Aleksandr. "Ilya Surguchev's theater in the history of Russian foreign theater." KANT Social Sciences & Humanities, no. 3 (July 2020): 40–51. http://dx.doi.org/10.24923/2305-8757.2020-3.5.
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Drama is defined as the main phenomenon of Ilya Surguchev's creative biography. ON this basis, the main chronology of his life and work during the period of emigration is presented. Biographical and historical-functional methods of literary research are used. The plays of the 1910s and 1940s, their themes and problems are characterized. An overview of the main premiere performances based on Surguchev's plays in theaters in Russia and Europe is presented. Questions of I.D. Surguchev's poetics of drama are raised; the prevailing genres, plots, themes, and stylistic dominants are highlighted. The role of Surguchev in the history of the theater of the Russian abroad is determined.
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Songolo, Aliko. "Marie Béatrice Umutesi's Truth: The Other Rwanda Genocide?" African Studies Review 48, no. 3 (December 2005): 107–19. http://dx.doi.org/10.1353/arw.2006.0040.
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Une tragédie n'exclut pas l'autreet il n'existe aucune hiérarchie dans la souffrance.(One tragedy does not cancel out the other,and there is no hierarchy in suffering.)Calixthe Beyala (2005)There can be no reconciliation between Hutu and Tutsi withoutjustice, and no justice without truth. This proposition holds truefor all three states of former Belgian Africa.René Lemarchand (1998)The title of Marie Béatrice Umutesi's book, Fuir ou mourir au Zaïre: Le vécu d'une Réfugiée Rwandaise—or in its English version, Surviving the Slaughter: The Ordeal of a Rwandan Refugee in Zaïre—might prove confusing for some readers on at least two counts. Because the name Rwanda will forever be associated in our memory with the horror of the 1994 genocide, one might surmise that this is the story of a Tutsi survivor taking refuge in neighboring Zaire, as in previous massacres in 1959, 1963, and 1973. But then again, considering the disastrous wars that have raged in that country for the last decade, one might conclude that Umutesi's book tells the story of a Rwandan refugee caught in the crossfire between competing forces, Rwanda versus Uganda and their proxies within the former Zaire. Both assumptions would be only half true. The missing half in both inferences is that the ordeal of this refugee and her cohort originated in the Rwandan conflict that began in 1990 and culminated in the genocide four years later. Shrewdly orchestrated and largely perpetrated by the Tutsi-dominated regime that took power in Rwanda in the aftermath of the genocide, the slaughter of these Hutu refugees has been concealed behind a curtain of silence on the part of the international community. In the drama that unfolds in Umutesi's book, Zairian territory is the unwitting, albeit highly significant, theater of the cynically suppressed story of the disappearance of nearly a quarter million Hutu refugees from Rwanda at the hands of shadowy “rebels.”
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Žmak, Jasna. "Linguistics, poetics, theater and drama." Zbornik Akademije umetnosti, no. 7 (2019): 147–57. http://dx.doi.org/10.5937/zbakum1907147z.
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Eligator, Ronald T., David W. Kahn, and Nicholas Edwards. "Recent drama theater design experience." Journal of the Acoustical Society of America 128, no. 4 (October 2010): 2274. http://dx.doi.org/10.1121/1.3507953.
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Stalter-Pace, Sunny. "Underground Theater." Transfers 5, no. 3 (December 1, 2015): 4–22. http://dx.doi.org/10.3167/trans.2015.050302.
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This article begins from the premise that modern American drama provides a useful and understudied archive of representations of mobility. It focuses on plays set on the New York City subway, using the performance studies concept of “restored behavior” to understand the way that these plays repeat and heighten the experience of subway riding. Through their repetitions, they make visible the psychological consequences of ridership under the historical and cultural constraints of the interwar period. Elmer Rice's 1929 play The Subway is read as a particularly rich exploration of the consequences of female passenger's presumed passivity and sexualization in this era. The Subway and plays like it enable scholars of mobility to better understand the ways that theatrical texts intervene in cultural conversations about urban transportation.
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Brown, Ian, Robert Brannen, and Douglas Brown. "The Arts Council Touring Franchise and English Political Theatre after 1986." New Theatre Quarterly 16, no. 4 (November 2000): 379–87. http://dx.doi.org/10.1017/s0266464x00014123.
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The pressures of Thatcherism on theatre funding in the 'eighties were severe, but the early harshness was tempered by several factors. One was the positive influence of the Cork Report, particularly on touring and experimental theatre. Another, the authors believe, was a careful strategy of reallocation of funding to support creativity in English theatre, notably through the touring franchise scheme. Here, they analyze in detail the ways in which the English Arts Council operated the scheme in an attempt to revitalize aspects of English theatre from 1986 onwards, trace the change in the values of ‘political’ theatre over that period, and critically examine some received ideas in the light of the available evidence. Ian Brown is Dean of Arts and Professor of Theatre at Queen Margaret University College, Edinburgh, Rob Brannen is a Senior Lecturer in Drama at De Montfort University, Bedford. Douglas Brown is Assistant Director, Scottish Centre for Cultural Management and Policy, at Queen Margaret University College, Edinburgh.
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Fullerton, Carol W. "The Theatre Criticism of George Stewart, Jr." Theatre Research in Canada 9, no. 2 (January 1988): 147–56. http://dx.doi.org/10.3138/tric.9.2.147.
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George Stewart, Jr. was a conservative theatre critic who published drama reviews over a forty-year period in later nineteenth-century Canada. He was typical of his time in preferring legitimate theatre and the plays of Shakespeare, Sheridan and Goldsmith, as well as in looking for naturalness in an actor or actress. Stewart was an early advocate of the need for critical autonomy, and was active in supporting French- as well as English-Canadian theatre.
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Tieken, Herman. "Austin, Christopher R.: The Pradyumnābhyudaya of Ravivarman. A New Sanskrit Text of the Trivandrum Edition and English Translation. Wiesbaden: Harrassowitz 2019. 156 S. 8° = Drama und Theater in Südasien 12. Brosch. € 39,00. ISBN 978-3-447-11191-1." Orientalistische Literaturzeitung 115, no. 6 (April 29, 2021): 477–80. http://dx.doi.org/10.1515/olzg-2020-0160.
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Senici, Emanuele, Gilles De Van, and Gilda Roberts. "Verdi's Theater: Creating Drama through Music." Modern Language Review 96, no. 1 (January 2001): 223. http://dx.doi.org/10.2307/3735796.
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Barnett, David, and Jeanette Malkin. "Memory-Theater and Post-Modern Drama." German Quarterly 73, no. 2 (2000): 230. http://dx.doi.org/10.2307/407974.
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Kirkley, Richard Bruce. "John Hirsch and the Critical Mass: Alternative Theatre on CBC Television in the 1970s." Theatre Research in Canada 15, no. 1 (January 1994): 75–95. http://dx.doi.org/10.3138/tric.15.1.75.
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This article examines John Hirsch's attempts to bring Canadian theatre artists and stage plays to television during his tenure, as Head of CBC English Language Television Drama in the 1970s. When the CBC appointed John Hirsch, they gave him a strong mandate to strengthen the drama department's relationship with Canadian theatre by bringing some of the best plays and performances to television, and by recruiting new talent from the theatre. To fulfill this mandate, Hirsch initiated a bold, comprehensive strategy; yet a series of historical forces, ranging from financial and economic to cultural and aesthetic, made the full realization of his strategy very difficult. By examining the problems that confronted Hirsch's theatre projects, this article will show how historical circumstances specific to the 1970s impeded the success of the projects, and will further suggest that more recent technological, structural and cultural developments related to television production and reception may have generated an environment more conducive to the achievement of successful collaborations between theatre and television.