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Relevant bibliographies by topics / William and Mary Theatre

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Academic literature on the topic 'William and Mary Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 March 2023

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Journal articles on the topic "William and Mary Theatre"

1

Green, Omiyẹmi Artisia. "A Testament on the Challenges of Holding HANDS UP." Journal of American Folklore 134, no. 534 (October 1, 2021): 418–29. http://dx.doi.org/10.5406/jamerfolk.134.534.0418.

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Abstract Due to evolving racial dynamics on the US national stage in 2020, the William & Mary Theatre production of HANDS UP: 7 PLAYWRIGHTS, 7 TESTAMENTS pivoted to an interactive conversation featuring select directors and actors. In this essay, I employ autocritography as a strategy to reflect on the process from proposal to production to pivot to conversation. I also consider the role of Black performances of trauma in a time of crisis, and the need for more equitable and inclusive educational theater environments for Black actors.

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McConachie, Bruce A. "Realizing a Postpositivist Theatre History." New Theatre Quarterly 10, no. 39 (August 1994): 217–22. http://dx.doi.org/10.1017/s0266464x0000052x.

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Bruce McConachie teaches in the Theatre Department at the College of William and Mary in Virginia. He is one of the leading theatre historians in the United States, who has, as David Mayer put it in his review of McConachie's most recent book, Melodramatic Formations: American Theatre and Society, 1820–1870, ‘been examining, criticizing, and improving the practice of theatre historiography’ for many years. McConachie's re-examination of how history is researched, analyzed, and written has its origins in an article, ‘Towards a Postpositivist Theatre History’, which he published in Theatre Journal in 1985, criticizing scholars who limit their theatre histories to events in the theatre. He called for historians to realize that theatre is only one part of a much larger socio-cultural complex, and that it is the historian's job to analyze theatre in terms of that complex. this article was the point of departure for the following interview, which Ian Watson conducted with McConachie in Philadelphia in January 1993.

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Wanko, Cheryl. "Mary Morein (fl. 1707): Drury Lane Actress and Fair Performer." Theatre Survey 32, no. 1 (May 1991): 22–30. http://dx.doi.org/10.1017/s0040557400009431.

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In 1708 an actress named Mary Morein filed a bill of complaint in the Court of Chancery against William Pinkethman. Morein's name appears nowhere in The London Stage, and there is no entry for her in the Biographical Dictionary. Other than the lawsuit testimony by and against her, I am aware of no evidence about her. Thus the lawsuit is of interest because it documents the existence of an otherwise unknown performer at a stormy time in the history of the London theatre. Perhaps more important, however, it contains significant factual evidence about the employment conditions of minor actresses, and gives specific figures for what such a person might earn by performing at the Fairs.

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Jurak, Mirko. "William Shakespeare and Slovene dramatists (III): (1930-2010)." Acta Neophilologica 44, no. 1-2 (December 31, 2011): 3–34. http://dx.doi.org/10.4312/an.44.1-2.3-34.

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In the final part of my study I shall present Shakespeare's influence on Slovene dramatists from the 1930s to the present time. In this period an almost unbelievable growth in Slovene cultural activities took place. This is also reflected in a very large number of new Slovene playwrights who have written in this time, in their international orientation in dramatic art as well as in the constantly growing number of permanent (and ad hoc) theatre companies. Communication regarding new theatrical tendencies not only in Europe but also in the United States of America and % during the past decades % also in its global dimension has become much easiers than in previous periods and this resulted also in the application of new dramatic visions in playwriting and in theatrical productions in Slovenia. These new movements include new techniques in writing, such as symbolism, futurism, expressionism, constructivism, surrealism, political drama, the theatre of the absurd and postmodernism, which have become apparent both in new literary techniques and in new forms of production. In this period Classical drama still preserved an important role in major Slovene theatres. Plays written by Greek playwrights, as well as plays written by Shakespeare, Molière, Schiller etc. still constitute a very relevant part of the repertoire in Slovene theatres. Besides, Slovene theatres have also performed many plays written by modern playwrights, as for example by Oscar Wilde, L. N. Tolstoy, I. S. Turgenev, Henrik Ibsen, August Strindberg, G. Hauptmann, G. Büchner, G. B. Shaw, A. P. Chekhov, John Galsworthy, Luigi Pirandello, Eugene O'Neill and many other contemporary playwrights. In the period after the Second World War the influence of American dramatists has been constantly growing. This variety also resulted in the fact that direct influence of Shakespeare and his plays upon Slovene dramatists became less frequent and less noticeable than it had been before. Plays written by Slovene dramatists are rarely inspired by whole scenes or passages from Shakespeare's plays, although there are also some exceptions from this rule. It is rather surprising how quickly Slovene theatres produced works written by important foreign dramatists already in the period following the First World War not to mention how quickly plays written by the best European and American playwrights have appeared on Slovene stages during the past fifty years. The connection between Shakespeare's plays and plays written by Slovene playwrights became more subtle, more sophisticated, they are often based on implied symbolic references, which have become a starting point for a new interpretation of the world, particularly if compared with the Renaissance humanistic values. The sheer number of plays written by Slovene dramatists in this period makes it difficult to ascertain that all influences from Shakespeare's plays have been noticed, although it is hoped that all major borrowings and allusion are included. Slovene dramatists and theatre directors have provided numerous adaptations of Shakespeare's plays, which sometimes present a new version of an old motif so that it may hardly be linked with Shakespeare. Slovene artists, playwrights and 4 also theatre directors, have %rewritten%, %reset% the original text and given it a new meaning and/or a new form, and in a combination of motifs and structure they have thus created a %new play%, even stand-up comedies in which the actor depends on a scenario based on Shakespeare's play(s) but every performance represents a new improvisation. Such productions are naturally closer to the commedia dell'arte type of play than to a play written by Shakespeare. I briefly mention such experimental productions in the introductory part of my study. The central part of my research deals with authors in whose works traces of Shakespeare's influence are clearly noticeable. These playwrights are: Matej Bor, Jože Javoršek, Ivan Mrak, Dominik Smole, Mirko Zupančič, Gregor Strniša, Veno Taufer, Dušan Jovanović, Vinko Möderndorfer and Evald Flisar.

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Watson, Ian. "Practical Aesthetics and the Formation of the Atlantic Theater Company." New Theatre Quarterly 24, no. 2 (May 2008): 189–200. http://dx.doi.org/10.1017/s0266464x08000158.

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The Atlantic Theater Company has been one of Off-Broadway's most successful theatre companies over the past twenty years, having won twelve Tony Awards, eight Lucille Lortel Awards, thirteen Obie Awards, and three Outer Critics Circle Awards. The company, originally founded in 1983 by the playwright David Mamet and the actor William H. Macy, has mounted over one hundred plays, many by new writers. Included among its successes are Martin McDonagh's The Lieutenant of Inishmore and The Beauty Queen of Leenane, Woody Allen's A Second Hand Memory and Writer's Block, the revival of David Mamet's American Buffalo, Celebration and The Room by Harold Pinter, Mojo and Night Heron by Jez Butterworth, and the new musical adaptation of Frank Wedekind's play Spring Awakening, which won the 2007 Tony for best new musical. But producing plays is only part of Atlantic's mission: it also runs the Atlantic Acting School, which operates both as a private conservatoire and an undergraduate training studio in conjunction with New York University. Its curriculum focuses on Practical Aesthetics, the acting technique developed by Mamet and Macy. Mary McCann, in conversation here with NTQ Contributing Editor Ian Watson, is a founding member of the Atlantic Theater Company and Director of the Atlantic Acting School, where she also teaches. She continues to act, having appeared in many of the company's productions, on Broadway, on television, and in several independent films. The conversation took place over two meetings at the Atlantic Acting School in New York City, on 25 April and 5 June 2007.

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Sun, William H. "The Paradox of Acting in the Traditional Chinese Theatre." New Theatre Quarterly 15, no. 1 (February 1999): 17–25. http://dx.doi.org/10.1017/s0266464x00012616.

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Traditional Chinese theatre seems to appeal to audiences across the world more for its exquisite acting than for its literary qualities. Yet Mei Lanfang, Tang Xianzu and Li Yu all assert that good acting must be firmly rooted in its literary base. What compelled these masters to go out of their way to emphasize the importance of the written text, argues William H. Sun, was precisely the failure of many traditional actors to take it seriously, preferring to rely on superficial virtuosities. From this constant struggle in traditional Chinese theatre between a theoretical respect for textual quality and practical emphasis on performance has emerged the peculiar paradox of acting here explored. The author, William H. Sun, is a Shanghai-born playwright, author, and associate professor of drama at Macalester College. A contributing editor of TDR, he has taught at Tufts University, California State University, Northridge, and the Shanghai Theatre

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Brandt, George W. "Banditry Unleash'd; or, How The Robbers Reached the Stage." New Theatre Quarterly 22, no. 1 (February 2006): 19–29. http://dx.doi.org/10.1017/s0266464x06000273.

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Friedrich Schiller – poet, historian, and philosopher as well as dramatist – is acknowledged to be a towering figure in German-language theatre, yet has had only a fitful impact on the stages of the English-speaking world, where such of his works as Don Carlos, Intrigue and Love (Luisa Miller in the operatic version) and William Tell are better known through the filters of Verdi and Rossini than in their original form. But there were signs in 2005 – the bicentenary of Schiller's death at the tragically early age of forty-five – that the English theatre was taking more notice of this major playwright, with Phyllida Lloyd's production of Mary Stuart and Michael Grandage's of Don Carlos both well received. In the article which follows, George W. Brandt traces Schiller's troubled breakthrough into professional theatre as a young man with his first play, The Robbers – which, while significantly different from his later work, does anticipate his lifelong preoccupation with the theme of freedom. George W. Brandt, Senior Research Fellow and Professor Emeritus in the Drama Department of the University of Bristol, has previously contributed to NTQ with articles on Bristol's Shakespeare at the Tobacco Factory Company (NTQ 72), and Iffland's 1796 guest performance in the Weimar of Goethe and Schiller (NTQ 77).

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Shevtsova, Maria. "Performance, Embodiment, Voice: the Theatre/Dance Cross-overs of Dodin, Bausch, and Forsythe." New Theatre Quarterly 19, no. 1 (January 10, 2003): 3–17. http://dx.doi.org/10.1017/s0266464x02000015.

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The closing decades of the twentieth century and the opening years of the twenty-first have seen a wide range of hybrid and cross-over performance forms, dance/theatre being prominent among them. In this article, Maria Shevtsova outlines the similarities between the working principles of director Lev Dodin and those of the choreographers Pina Bausch and William Forsythe, suggesting how they have set and still exemplify current trends in a networked world (Castells) of precarity (Bourdieu) and uncertainty. She also explores a broader socio-artistic context for her focus. This text is a slightly modified version of a belated inaugural lecture for her third appointed professorial chair, at Goldsmiths College, University of London, in March 2002. Maria Shevtsova is an Advisory Editor of NTQ, whose recent publications include ‘Theatre and Interdisciplinarity’ (2001), a special issue she guest-edited for Theatre Research International, and ‘The Sociology of the Theatre’ (2002), edited for Contemporary Theatre Review, which includes her essay, ‘Appropriating Pierre Bourdieu's Champ and Habitus for a Sociology of Stage Productions’. Her book on Lev Dodin and the Maly Drama Theatre of St Petersburg is due for publication in 2003.

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O'Neill, Dianne, and Patrick O'Neill. "Canadian Scene-Painter William Gill and the Survival of an 1892 Garden Scene." Theatre Research in Canada 18, no. 2 (January 1997): 230–41. http://dx.doi.org/10.3138/tric.18.2.230.

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William Gill (1854-1943) was a respected and prolific scene-painter based in Halifax and Boston. Of his many works, only one known example remains--an Italianate Garden Scene sitting in a small theatre in Musquodoboit, Nova Scotia. This feature briefly outlines the career of a neglected Canadian artist, and provides for the journal's readers the images of his damaged, deteriorating, but still evocative legacy of scene design in Canada.

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Keenaghan, Eric. "The Impersonal Is Political: On the Living Theatre and William Carlos Williams’s Many Loves." William Carlos Williams Review 33, no. 1-2 (2016): 101–27. http://dx.doi.org/10.1353/wcw.2016.0017.

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Dissertations / Theses on the topic "William and Mary Theatre"

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Parrish, Laura Frances. "When Mary Entered with Her Brother William: Women Students at the College of William and Mary, 1918-1945." W&M ScholarWorks, 1988. http://hdl.handle.net/10288/1117.

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Wanklyn, Wendy. "The feminisms of Mary Wollstonecraft and William Thompson." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.290948.

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Williams, andrea Lynn. "Conflict at the College: William and Mary 1750-1776." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539626736.

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Rhodes, Elizabeth. "'This wide theatre, the world' : Mary Robinson's theatrical feminism." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14254.

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In this thesis I assert that Robinson’s theatrical heritage positioned her uniquely to confront the revolutionary explosions of 1790s radical thought. In her writings, Robinson’s onstage experience of gender performativity is transformed into a bold feminist critique of gender roles for women (and men) everywhere. In Chapter 1, I study writings by eighteenth-century theatrical women to argue that Robinson’s feminism must be understood within a theatrical context to appreciate the unique radicalism of her feminist vision. In Chapter 2, I explore how Robinson’s powerful identification with Marie Antoinette lies at the roots of her feminist project. In Chapter 3, I explain how Robinson then turns to the voice of Sappho to develop a radical vision of transcendent genius. In Chapter 4, I demonstrate how Robinson turns her critique of gender on men through the performative space of the masquerade in Walsingham (1797). Finally, in Chapter 5, I explain how this radical feminist critique is moulded to utopian ends in The Natural Daughter (1799), as Robinson rewrites the ending of Wollstonecraft’s Wrongs of Woman in a vision of the revolutionary family. I read three strands into Robinson’s feminism: 1) the rejection of incommensurable sexual difference; 2) the union of rational virtue and benevolent sensibility in the development of transcendent genius; and 3) a radical critique of the anxious crisis in 1790s masculinity. The result of this was a utopian vision of the future quite different from Wollstonecraft’s better-known brand of ascetic feminism. Instead, Robinson’s feminist theory works to rescue the original values of the French Revolution from beneath the ravages of Jacobin corruption. Beyond the limiting categories of incommensurable sexual difference, Robinson envisions a family in which woman would no longer have to renounce her sexual body in order to engage with society, and man could finally accept her as his equal.

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Gosnell, Joan. "Kickoffs and Kickbacks: The 1951 Football Scandal at William and Mary." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625632.

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Dorotiak, Jared. "Transformative Intersections: Theatre and Adaptation in Mary Zimmerman's Metamorphoses." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1375201350.

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Killen, Carl. "William Nannary and Atlantic Victorian theatre, the amateur legacy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23811.pdf.

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Bell, Vivienne Ann. "William Godwin and Frankenstein : the secularization of Calvinism in Godwin's philosophy and the sub-Godwinian Gothic novel ; with some remarks on the relationship of the Gothic to Romanticism /." Title page, contents and summary only, 1993. http://web4.library.adelaide.edu.au/theses/09ARM/09armb435.pdf.

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Little, Tiffany Olivia. "Behind the Scenes at William and Mary: Front Stage History and Backstage Archaeology." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539626754.

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Ogawa, Kimiyo. "Eighteenth-century medical discourse and sensible bodies : sensibility and selfhood in the works of William Godwin, Mary Wollstonecraft and Mary Shelley." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/3944/.

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In Eighteenth-Century Medical Discourse and Sensible Bodies: Sensibility and Selfhood in the Works of William Godwin, Mary Wollstonecraft and Mary Shelley, I examine how medical, philosophical and theological discourses on sensibility and on selfhood mutually informed one another in the historical moment of the late eighteenth and early nineteenth centuries in England. The key to unravelling the complex notion of sensibility principally lies in the medical discourse that investigated the source of motion, knowledge, and moral feelings. I focus on the medical tracts which can be seen as discursive responses to Locke’s epistemology. In addition, I read eighteenth-century philosophical texts and analysed some of the political debates on the French Revolution. The theory of associationism which is predicted on the study of nerves and sense-impressions throws some light on a particular aspect of sensibility which explores epistemological issues and character formation. I show how the nerve theory operated in gender specific ways, so exposing the gender bias of supposedly objective medical science. The specific writers I discuss, Godwin, Wollstonecraft and Shelley, all address the associations theory directly. A close examination of their appropriation of medical language reveals that the image of the sensible body was a constant source of inspiration, and that their literary production was a continual process of re-figuring such a medicalised body. My project attempts to make sense of the equivocal position of Godwin and Wollstonecraft, who, while upholding rationalism, avow sensibility in their literary and non-literary works. The underlying contradictions between the associationism and the authority of the individual’s mind run deep. Rather than illustrating feminine reticence in Shelley’s Frankenstein as a cultural reflection of a “proper lady,” I argue that her characterisation of the monster and of female characters must be read as complex articulations of her sentiments about the discourses on sensibility and the problem of human agency.

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Books on the topic "William and Mary Theatre"

1

Kiste, John Van der. William and Mary. Thrupp, Stroud, Gloucestershire: Sutton Pub., 2003.

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William and Mary. [Newton Abbot]: David & Charles, 1998.

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Ryback, Jeffrey W. The many faces of William Shakespeare. Studio City, CA: Players Press, 1997.

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Shakespeare, William. William Shakespeare's A midsummer night's dream. London: Joseph, 1985.

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Charles, Kean, ed. Sh akespeare's play of a midsummer night's dream: Arranged for representation at the Princess's Theatre. Oxford: Pergamon, 1985.

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Shakespeare, William. William Shakespeare's A midsummer night's dream. London: Hodder Murray, 2002.

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Shakespeare, William. William Shakespeare's A midsummer night's dream. New York: S. French, 1995.

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Shakespeare, William. William Shakespeare's A midsummer night's dream. London: Joseph, 1985.

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William Hutt: A theatre portrait. Oakville, Ont: Mosaic Press, 1988.

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1962-, Stewart Jon, ed. William and Mary men's soccer. Charleston, SC: Arcadia Publishing, 2010.

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Book chapters on the topic "William and Mary Theatre"

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Brown, John Russell. "Theatre." In William Shakespeare: Writing for Performance, 1–17. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24634-2_1.

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Bate, Jonathan, and Eric Rasmussen. "Shakespeare’s Career in the Theatre." In William Shakespeare, 207–21. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-00453-6_9.

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Kirchhelle, Claas. "Becoming an Activist: Ruth Harrison’s Turn to Animal Welfare." In Palgrave Studies in the History of Social Movements, 35–48. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62792-8_3.

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AbstractThis chapter focuses on Harrison’s life prior to writing Animal Machines. Together with her siblings, Harrison was brought up in close contact to Britain’s cultural elite. After attending schools in London, Harrison commenced her university studies in 1939. The outbreak of war had a transformative impact on her life. Harrison was evacuated to Cambridge where she likely came into contact with ethologist William Homan Thorpe. She converted to Quakerism and subsequently enrolled in the Friends’ Ambulance Unit. The Quaker principles of non-violence, humanitarianism, and bearing witness to injustice would serve as important reference points throughout Harrison’s campaigning. After the war, she completed her studies in the dramatic arts but abandoned a potential career as a theatre producer. In 1954, she married architect Dexter Harrison. Similar to many Quakers, Harrison’s humanitarian concerns motivated her to become involved in the Campaign for Nuclear Disarmament and protest perceived technological, moral, and environmental threats to society.

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Morris, Helen. "Elizabethan Theatre." In Romeo and Juliet by William Shakespeare, 3–6. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07425-9_2.

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Donovan, Ryan. "William Finn." In Fifty Key Figures in Queer US Theatre, 67–71. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003203896-13.

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Davison, Peter. "Shakespeare’s Life and Theatre." In Henry V by William Shakespeare, 1–5. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08702-0_1.

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Bate, Jonathan, and Eric Rasmussen. "Shakespeare’s Career in the Theatre." In William Shakespeare: Twelfth Night, 153–67. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-00478-9_8.

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Highway, Tomson. "The Incredible Adventures of Mary Jane Mosquito: Lyrics to Tatty Cake9." In How Theatre Educates, edited by Kathleen Gallagher and David Booth, 207–10. Toronto: University of Toronto Press, 2003. http://dx.doi.org/10.3138/9781442627574-019.

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Devlin, Diana. "Shakespeare and his Theatre." In The Winter’s Tale by William Shakespeare, 1–5. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07761-8_1.

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Bate, Jonathan, and Eric Rasmussen. "Shakespeare’s Career in the Theatre." In William Shakespeare: Measure for Measure, 166–80. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-00445-1_8.

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Conference papers on the topic "William and Mary Theatre"

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Eddy, Pamela. "Internationalization of Higher Education During the COVID-19 Pandemic: A Case Study of William & Mary." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1882347.

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Reports on the topic "William and Mary Theatre"

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Boozer, A. H., and G. M. Vahala. Theoretical plasma physics. [College of William and Mary]. Office of Scientific and Technical Information (OSTI), May 1992. http://dx.doi.org/10.2172/7245535.

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Champion, R. L., and L. D. Doverspike. Negative ion detachment cross sections. [Physics Dept. , College of William and Mary, Williamsburg, Virginia]. Office of Scientific and Technical Information (OSTI), October 1992. http://dx.doi.org/10.2172/6887864.

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Marc Sher. Funding Request to Organize DPF2002 at the College of William and Mary, May 24-28, 2002. Office of Scientific and Technical Information (OSTI), May 2003. http://dx.doi.org/10.2172/811802.

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Guilfoyle, Michael, Ruth Beck, Bill Williams, Shannon Reinheimer, Lyle Burgoon, Samuel Jackson, Sherwin Beck, Burton Suedel, and Richard Fischer. Birds of the Craney Island Dredged Material Management Area, Portsmouth, Virginia, 2008-2020. Engineer Research and Development Center (U.S.), September 2022. http://dx.doi.org/10.21079/11681/45604.

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This report presents the results of a long-term trend analyses of seasonal bird community data from a monitoring effort conducted on the Craney Island Dredged Material Management Area (CIDMMA) from 2008 to 2020, Portsmouth, VA. The USACE Richmond District collaborated with the College of William and Mary and the Coastal Virginia Wildlife Observatory, Waterbird Team, to conduct year-round semimonthly area counts of the CIDMMA to examine species presence and population changes overtime. This effort provides information on the importance of the area to numerous bird species and bird species’ groups and provides an index to those species and group showing significant changes in populations during the monitoring period. We identified those species regionally identified as Highest, High, and Moderate Priority Species based on their status as rare, sensitive, or in need of conservation attention as identified by the Atlantic Coast Joint Venture (ACJV), Bird Conservation Region (BCR), New England/Mid-Atlantic Bird Conservation Area (BCR 30). Of 134 ranked priority species in the region, the CIDMMA supported 102 of 134 (76%) recognized in the BCR, including 16 of 19 (84%) of Highest priority ranked species, 47 of 60 (78.3%) of High priority species, and 39 of 55 (71%) of Moderate priority species for BCR 30. All bird count and species richness data collected were fitted to a negative binomial (mean abundance) or Poisson distribution (mean species richness) and a total of 271 species and over 1.5 million birds were detected during the monitoring period. Most all bird species and species groups showed stable or increasing trends during the monitoring period. These results indicate that the CIDMMA is an important site that supports numerous avian species of local and regional conservation concern throughout the year.

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