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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
7
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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Tanner-Kennedy, Dana. "Gertrude Stein and the Metaphysical Avant-Garde." Religions 11, no. 4 (March 25, 2020): 152. http://dx.doi.org/10.3390/rel11040152.
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When American metaphysical religion appears onstage, it most often manifests in the subject matter and dramaturgies of experimental theater. In the artistic ferment of the 1960s and 1970s counterculture, theater-makers looked both to alternative dramaturgies and alternative religions to create radical works of political, social, and spiritual transformation. While the ritual experiments of European avant-garde artists like Artaud and Grotowski informed their work, American theater-makers also found inspiration in the dramas of Gertrude Stein, and many of these companies (the Living Theatre and the Wooster Group, most notably) either staged her work or claimed a direct influence (like Richard Foreman). Stein herself, though not a practitioner of metaphysical religion, spent formative years in Cambridge, Massachusetts, at Radcliffe under the tutelage of William James. Cambridge, at the turn of the twentieth century, was a hotbed of spiritualism, theosophy, alternative healing modalities, and James, in addition to running the psychology lab in which Stein studied, ran a multitude of investigations on extrasensory and paranormal phenomena. This article traces a web of associations connecting Ralph Waldo Emerson, Transcendentalism, and liberal Protestantism to Gertrude Stein and landscape dramaturgy to the midcentury avant-garde, the countercultural religious seeking of the 1960s and 1970s, and the Off-Off-Broadway movement.
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Keenaghan. "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. http://dx.doi.org/10.5325/willcarlwillrevi.33.1-2.0101.
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Arakkal, Rinshila. "From Birnamwood to Bollywood: A View of the Cinematographic Adaptation of Macbeth into Maqbool." International Journal of English and Comparative Literary Studies 1, no. 1 (November 22, 2020): 1–20. http://dx.doi.org/10.47631/ijecls.v1i1.144.
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Purpose: The study aims to explore the similarities and dissimilarities between William Shakespeare’s Macbeth and its film adaptation Maqbool by Vishal Bhardwaj. The study also aims to compare both the film and the play in terms of politics and power from a psychoanalytic perspective.
Methodology/ Approach: This study is based on thematic analysis and the main changes when the original play is adapted to film, in order to check the variation from stage to screen. Adaptation theory, Sigmund Freud’s psychoanalysis theory are used in this analysis. Bollywood movie Maqbool (2003) by director Vishal Bhardwaj and William Shakespeare’s great tragedy Macbeth (1606) are used as primary sources for this analysis.
Findings: The result of the analysis indicates that film and drama are entirely different. When an original play is adapted into film, there are many merits and demerits.Shakespeare mounded more on poetic language than on spectacle and other scenic devices to create the necessary emotional effect. The Elizabethan theatre gores were more audiences than spectators. But the modern spectators habituated to the computer-generated technique of cinematography expect something considerably different. The result is that when the text of the play is converted into a screenplay, there will be a remarkable reduction in the number of spoken words because mainstream cinema depends for its effect largely on visual rather than dialogue. However, the director maintained the originality of play despite the additions and reductions.
Conclusion: The paper throws light on the main changes from English Renaissance theatre to contemporary modern world or theatre. It depicts the Psychological behavioural differences and the power and political structures of the two different periods. The paper suggests that film adaptation is an effective and attractive tool to maintain the value and to understand the original text.
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Olsson, Michael. "Making Sense of Shakespeare: a Cultural Icon for Contemporary Audiences." Cosmopolitan Civil Societies: An Interdisciplinary Journal 5, no. 3 (November 18, 2013): 14–31. http://dx.doi.org/10.5130/ccs.v5i3.3640.
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The works of William Shakespeare are more popular in the 21st century than ever before, Why are theatre and audiences around the globe still drawn to his work? How do they make sense of these texts in ways that resonate with their cosmopolitan, contemporary audiences? This article uses the findings of a study interviewing 35 theatre professionals in Canada, Finland and the United Kingdom to explore these issues. Theoretically and methodologically, it is a bricollage, drawing on a range of approaches including Foucault’s discourse analysis, Hobsbawm’s invented traditions and Dervin’s Sense-Making to understand participants sense-making as an affective, embodied social practice. It argues that attempting to understand the significance of a major cultural icon such as Shakespeare in contemporary cosmopolitan civil society needs to recognise the many meanings, roles and significances that surround him and that this complexity makes it unlikely that any one theoretical lens will prove adequate on its own. DOI: http://dx.doi.org/10.5130/ccs.v5i3.3640
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Martin, Brian. "Forthcoming: The Roger L. Stevens Collection at the Library of Congress." Theatre Survey 38, no. 2 (November 1997): 159–61. http://dx.doi.org/10.1017/s0040557400002118.
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Roger Stevens has always been a visionary. His career began in real estate, where he gained national recognition for buying the Empire State Building for $51.5 million—at the time the highest price ever paid for one building—and selling it three years later for a ten-million dollar profit. As he expanded into theatre, he quickly became one of the nation's foremost producers on Broadway, producing more than 200 shows over the last half century, including West Side Story, A Man for All Seasons, Bus Stop, Cat on a Hot Tin Roof, Deathtrap, and Mary, Mary. He “discovered” playwrights such as Tom Stoppard, Peter Shaffer, and Terence Rattigan for New York audiences, and he has worked closely with others, already established, such as Eugene O'Neill, Tennessee Williams, Harold Pinter, Jean Giraudoux, and T.S. Eliot Three United States presidents have depended on Stevens for their arts and humanities policy, and the American theatrical community has benefitted from his intuitive vision.
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Nusen, Rachod, and Kamron Gunatilaka. "Translated Plays as a Force for Social Justice." Manusya: Journal of Humanities 23, no. 1 (March 21, 2020): 86–115. http://dx.doi.org/10.1163/26659077-02301005.
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During the current political crisis in Thailand, people hold various political standpoints. Despite these different stances, the goal for many of these differences remains the same, namely, a just society. The research Translated Plays as a Force for Social Justice is an attempt to advocate the role of literature in creating social justice. The purpose of the research is to study issues of social justice in translated plays and to suggest ways in which the Thai academic community and Thai society can use plays to advocate social justice. This research studies translations of William Shakespeare’s The Merchant of Venice, Bertolt Brecht’s Der gute Mensch von Sezuan, Jean Anouilh’s Antigone and Arthur Miller’s The Crucible. The study finds that these plays pose challenging questions which help raise an awareness of the importance of social justice. Critics and theatre practitioners in the West have created a number of works on these plays that help advance social justice. Nonetheless, the issues of social justice in these plays are often ignored by Thai critics and theater practitioners and, because of this, some of them unintentionally offer an interpretation or a production, which is not in line with the concept of social justice.
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Chatterjee, Sudipto. "SOUTH ASIAN AMERICAN THEATRE: (UN/RE-)PAINTING THE TOWN BROWN." Theatre Survey 49, no. 1 (May 2008): 109–17. http://dx.doi.org/10.1017/s0040557408000069.
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In his second year at the University of California, Berkeley, Arthur William Ryder (1877–1938), the Ohio-born Harvard scholar of Sanskrit language and literature, collaborated with the campus English Club and Garnet Holme, an English actor, to stage Ryder's translation of the Sanskrit classic Mrichchhakatikam, by Shudraka, as The Little Clay Cart. The 1907 production was described as “presented in true Hindu style. Under the direction of Garnet Holme, who … studied with Swamis of San Francisco … [and] the assistance of many Indian students of the university.” However, in the twenty-five-plus cast, there was not a single Indian actor with a speaking part. The intended objective was grandeur, and the production achieved that with elaborate sets and costumes, two live zebras, and elephants. Seven years later, the Ryder–Holme team returned with Ryder's translation of Kalidasa's Shakuntala, “bear cubs, a fawn, peacocks, and an onstage lotus pool with two real waterfalls.” While the archival materials do not indicate the involvement of any Indian actors (barring one Gobind B. Lal, who enacted the Prologue), its importance is evinced by the coverage it received in the Oakland Tribune, the Overland Monthly and Out West Magazine, and the Los Angeles Times.
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Gaviña-Costero, María. "Brian Friel in Spain: An Off-Centre Love Story." Estudios Irlandeses, no. 16 (March 17, 2021): 110–24. http://dx.doi.org/10.24162/ei2021-10074.
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Spanish theatres are not prolific in the staging of Irish playwrights. However, the Northern Irish writer Brian Friel (1929-2015) has been a curious exception, his plays having been performed in different cities in Spain since William Layton produced Amantes: vencedores y vencidos (Lovers: Winners and Losers) in 1972. The origin of Friel’s popularity in this country may be attributed to what many theatre directors and audiences considered to be a parallel political situation between post-colonial Ireland and the historical peripheral communities with a language other than Spanish: Catalonia, the Basque Country and Galicia; the fact is that the number of Catalan directors who have staged works by Friel exceeds that of any other territory in Spain. However, despite the political identification that can be behind the success of a play like Translations (1980), the staging of others with a subtler political overtone, such as Lovers (1967), Dancing at Lughnasa (1990), Molly Sweeney (1994), Faith Healer (1979) and Afterplay (2001), should prompt us to find the reason for this imbalance of representation elsewhere. By analysing the production of the plays, both through the study of their programmes and interviews with their protagonists, and by scrutinising their reception, I have attempted to discern some common factors to account for the selection of Friel’s dramatic texts.
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Osberg, Richard H. "The Goldsmiths' “Chastell” of 1377." Theatre Survey 27, no. 1-2 (November 1986): 1–15. http://dx.doi.org/10.1017/s0040557400008772.
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Among the many devices of the pageant carpenter's art, including the Trees of Jesse, mountains “inuironed with red roses and white,” thrones of justice, dragons, and fonts, the castle had become, at least by the mid-fifteenth century, practically a cliché. Its origins as a pageant structure, however, have yet to be satisfactorily explained, and its iconography is still open to interpretation. Theatre historians have long been interested in the “castle” pageant that the Goldsmiths' guild organized for the coronation of Richard II because it is the first English civic pageant for which any detailed description survives. The nineteenth-century antiquary, William Herbert, believed there to be no record of the “castle” pageant in the Company's own books, however, and following this lead, Robert Withington, the great compiler of pageant history, so reports the matter.
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Ley, Graham. "The Significance of Diderot." New Theatre Quarterly 11, no. 44 (November 1995): 342–54. http://dx.doi.org/10.1017/s0266464x00009325.
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Best known in his own times as an encyclopedist, the eighteenth-century French writer, philosopher, dramatist, and critic Denis Diderot (1713–84) was to emerge a century later, though his Paradoxe sur le comédien, as a posthumous protagonist in the debate launched in Britain in William Archer's Masks or Faces? (1888). That debate – on the role of feeling and instinct versus craft and technique in acting – has been taken up and sustained by many theorists and practitioners in the succeeding century. In the following article, however, Graham Ley is more concerned with Diderot's wider role as theatrical theorist, suggesting that he offers – as also in his defence of pantomime, his proposal for the ‘serious genre’ which anticipated realism, and his advocacy of scenographic reform – not a unified vision of the nature of theatre but an enduring sense, precisely, of its paradoxical and ironic qualities. Graham Ley has just joined the Department of Drama at the University of Exeter, having previously taught in London and New Zealand. He is currently completing a book on theatrical theory, on which he has previously also published in NTQ, most recently on ‘The Role of Metaphor in Brook's The Empty Space’ (NTQ35, 1993). Among his numerous publications on ancient performance, A Short Introduction to the Ancient Greek Theatre appeared from the University of Chicago Press in 1991.
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Lucas, Peter J. "WILLIAM CAMDEN, SEVENTEENTH-CENTURY ATLASES OF THE BRITISH ISLES AND THE PRINTING OF ANGLO-SAXON." Antiquaries Journal 98 (September 2018): 219–44. http://dx.doi.org/10.1017/s000358151800015x.
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The sixth edition of Camden’s Britannia was published in 1607 with over fifty county maps printed from engraved plates. It was a pioneering work. In 1611, John Speed published his Theatre of The Empire of Great Britaine, again with over fifty county maps, many of them engraved by Jodocus Hondius from Amsterdam, and with an abridged version of Camden’s text. These books established a model that was followed later in Amsterdam itself in the great atlases of Blaeu and Janssonius. One of the ways Camden sought to augment the authority of his work was by using Anglo-Saxon types in his text for county names and the occasional passage in Anglo-Saxon (Old English). As the practice persisted, the progress of these type-designs is examined in relation to the development of the atlases. While Hondius’ map-making skills were imported to add to the English text, when the English text was brought to Amsterdam to add to the Dutch maps, the Dutch printers had to use their own skills to reproduce the Anglo-Saxon characters.
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Tompkins, Joanne. "‘Homescapes’ and Identity Reformations in Australian Multicultural Drama." Theatre Research International 26, no. 1 (March 2001): 47–59. http://dx.doi.org/10.1017/s0307883301000050.
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A consideration of identity formation in contemporary Australian multicultural theatre is offered through a re-assessment of the unsettled (and unsettling) constructions of Australia as ‘home’ in the work of three playwrights. William Yang's Sadness disrupts a localized perception of home, space, and cultural communities to amalgamate two disparate communities (the queer/homosexual community in Sydney and the Asian-Australian, or ‘Austasian’ community) into a reconfigured Australian identity. Janis Balodis's The Ghosts Trilogy uses many actors who play across the unsettled lines of history, amid numerous voices, homes, and homelands that indicate the enormity of what ‘Australia’ comes to signify. Noëlle Janaczewska's The History of Water constructs a way of locating the self by means of a metaphoric home as each character establishes herself on a psychic plane rather than choosing the strictly physical locations to which she has access. In their interrogations of home and homeland, these plays challenge assumptions regarding identity, disrupt notions of the ultimate ownership of land/culture by anyone, and problematize the idea of settlement as it is currently articulated in Australia.
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Wolf, Stacy. "The Cambridge Companion to the Musical. Edited by William A. Everett and Paul R. Laird. Cambridge: Cambridge University Press, 2002; pp. xvii + 310 + 18 illus. $65 cloth, $23 paper; Boy Loses Girl: Broadway's Librettists. By Thomas S. Hischak. Lanham, MD: Scarecrow Press, 2002; pp. x + 277. $39.95 cloth." Theatre Survey 45, no. 1 (May 2004): 129–31. http://dx.doi.org/10.1017/s0040557404270089.
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“Those who created this book, and many of its readers, think of the musical as art,” write Everett and Laird in their preface to The Cambridge Companion to the Musical (xv). Indeed, many of us who study or teach musical theatre feel the need to defend it as a viable artistic form worthy of scholarly examination. Both of these books demonstrate the musical's importance in cultural history and amply illustrate the artistry of its production.
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Wood, Gerald C. "Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper." Theatre Survey 45, no. 2 (November 2004): 286–88. http://dx.doi.org/10.1017/s0040557404240261.
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Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.
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Hossein Esmkhani, Amir. "Iran – Infrastructure, historical and current developments in performative pedagogy." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (July 1, 2016): 99–106. http://dx.doi.org/10.33178/scenario.10.2.9.
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Theatre and other forms of art have played an unarguable part in the formation of cultures and civilizations all around the world. There is some proof that performance began even before language was invented by man. In their rituals and traditions, our earliest ancestors used their body to convey messages and performed rituals on different occasions. The history of our culture and civilization is replete with various forms of art and performance narrating the stories of generations. From mothers’ bedtime stories to religious ceremonies, for a wide range of purposes, art in general and performance-based art in particular gave shape and meaning to human’s everyday life experiences. This article will present an overview of the history of performative arts in Iran, how it has come to contribute to foreign language teaching, and outline its limitations and future projections. Performative arts have a rather long history in Iran. In one of the most authoritative books on Iranian Performance Tradition, William O’Beeman (2011) presents the rich “tapestry” of Iranian traditional performance which took root many centuries ago, before Iran came into contact with the West. He believes that those who are not familiar with Iranian culture may be truly surprised to discover ...
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Caputo, Nicoletta. "LOOKING FOR RICHARD III IN ROMANTIC TIMES: THOMAS BRIDGMAN'S AND WILLIAM CHARLES MACREADY'S ABORTIVE STAGE ADAPTATIONS." Theatre Survey 52, no. 2 (November 2011): 275–300. http://dx.doi.org/10.1017/s0040557411000391.
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In his commendatory poem from the First Folio, Ben Jonson asserted that Shakespeare “was not of an age, but for all time.” This has proved true, and Shakespeare has been able to speak to many succeeding generations of readers and theatregoers. This, however, is not because essential, unchangeable, and universal truths about human nature, the world, and experience lay hidden in his plays or his characters but (quite the opposite) because succeeding generations, over the centuries, have been able to appropriate, exploit, and reuse Shakespeare to make sense of their world and their lives. Shakespeare is for all time precisely because he has relentlessly changed over time. The author and his texts have been unceasingly reinvented, and a virtually infinite number of “alternative Shakespeares” has come to embody specific contemporary issues and conflicts. As Jean Marsden put it in 1991, Shakespeare is the object of “an ongoing process of literary and cultural appropriation in which each new generation attempts to redefine Shakespeare's genius in contemporary terms, projecting its desires and anxieties onto his work.” This is true for both the “dramatic” Shakespeare and the “theatrical” Shakespeare: Shakespeare's plays have been as tirelessly reinterpreted on the page by scholars (and others) as they have been reinvented on the stage by actors and directors. The fate of King Richard III, however, is peculiar from this point of view, insofar as an often-denigrated Restoration revision of Shakespeare's play totally replaced the “original” one in the theatre and held the stage for nearly 200 years. This peculiarity acquires interesting overtones when we look at the treatment the staged play received at the hands of the Romantics, who, in spite of the bardolatry prevailing at the time and their often-vented disesteem for the adapted version, apparently missed their opportunity to make Shakespeare's original play speak for their own time.
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Lanza, Tiziana. "Using geosciences and mythology to locate Prospero's island." Geoscience Communication 4, no. 1 (March 17, 2021): 111–27. http://dx.doi.org/10.5194/gc-4-111-2021.
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Abstract. The Tempest, the last work entirely attributed to William Shakespeare, has been subject to many studies and interpretations, ranging from adventure and Shakespeare's biography to colonialism and the cultural revolution, and is studied in this paper in the context of naturally occurring hazards. The play tells the story of a magician, Prospero, and his daughter who are shipwrecked on an unknown island where they encounter strange creatures and beings. But is it a fantastic island or was the author inspired by real places? Literary scholars proposed several hypotheses through the years, based on historical sources. Here, we analyse the play in the light of geosciences and mythology supporting the hypothesis that the playwright was inspired by the Mediterranean. Our goal is not to identify the island but rather to examine the various geographical and philosophical–political factors that may have influenced Shakespeare's literary creation. Nevertheless, some verses in the play suggest volcanism, placing the island in the Sicilian sea. This underlines once again how deep the playwright's knowledge of Italy was. It also suggests that this part of the Mediterranean was known, at the time of Shakespeare, as the theatre of phenomena originated in the volcanism of the area. One implication is that he could have used historical sources, still unknown and precious, to reconstruct geological events that occurred off the Sicilian coast.
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Werther, Janet. "Mary Wigman: Expressionist, feminist, theatre artist." Studies in Musical Theatre 8, no. 3 (December 1, 2014): 261–70. http://dx.doi.org/10.1386/smt.8.3.261_1.
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Kornwolf, James D. "‘So good a design’: A William and Mary garden at William and Mary." Journal of Garden History 10, no. 3 (July 1990): 173–88. http://dx.doi.org/10.1080/01445170.1990.10410731.
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Heinrich, Anselm. "WILLIAM GLADSTONE AND THE THEATRE." Theatre Survey 52, no. 1 (May 2011): 83–103. http://dx.doi.org/10.1017/s004055741100007x.
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William Ewart Gladstone, four times prime minister (1868–74, 1880–5, 1886, and 1892–94), the “greatest colossus of the Victorian Age,” the most influential prime minister of the nineteenth century, and the Grand Old Man (G.O.M.) of British politics and statesmanship, seems an unlikely advocate for the theatre. Deeply religious, conservative, and serious, Gladstone is not easily imagined as an avid theatregoer. It is difficult to imagine him supporting the ephemeral, often subversive, and suggestive character of the theatre. And indeed, in his early years Gladstone despised the theatre and called it an “encouragement of sin.” As prime minister, he was almost obsessed by a religious zeal; Richard Foulkes has noted that “Few, if any, prime ministers have carried out their role in making senior Church appointments as assiduously as Gladstone did.” For members of Victorian Britain's Christian majority, the theatre was anathema and regarded as morally suspect. They were intensely suspicious and saw playgoing as a distraction from religion and as a promoter of frivolity, vanity, and female forwardness. They linked theatres to “prostitution, juvenile delinquency, idleness, drunkenness and frivolity.” In fact, theatres were the “antithesis of the Victorian world view which prized respectability, gentility, decency, education and uplift.” Until at least the later decades of the nineteenth century, theatre “was widely regarded as the lowliest of the arts, if one at all.”
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Jurak, Mirko. "William Shakespeare and Slovene dramatists (II) : J. Jurčič, F. Levstik, I. Cankar, O. Župančič, B. Kreft : (the makers of myths)." Acta Neophilologica 43, no. 1-2 (December 31, 2010): 3–48. http://dx.doi.org/10.4312/an.43.1-2.3-48.
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purpose of this study is to explore the influence of William Shakespeare on Slovene playwrights in the period between 1876, which marks the appearance of Jurčič - Levstik's Tugomer, and the 1930s, when Oton Župančič published his tragedy Veronika Deseniška (Veronika of Desenice, 1924) and, a few years later, Bratko Kreft his history, Celjski grofje (The Counts of Celje, 1932). Together with Cankar's works all of the plays discussed in this study deal with one of the well-known Slovene myths. In the previous number of Acta Neophilologica I published my study on the first Slovene tragedy Miss Jenny Love, which was published in Augsburg in 1780.1 The Romantic period, which followed this publication, was in Slovenia and elsewhere in Europe mainly characterized by the appearance of poetry, with a few exceptions of plays which were primarily intended for reading and not for the stage (Closet Drama). Let me mention here that in the Romantic period some of the finest Slovene poetry was written by France Prešeren (1800-1849), and although some of his friends suggested he should also attempt to write a play, his closest achievement to drama was his epic poem Krst pri Savici (Baptism at the Savica River, 1836), which is also often considered by literary historians as a predecessor of later Slovene dramatic literature. Although many Slovene authors who wrote their works in the nineteenth century knew Shakespeare's plays, they still found it easier to express themselves in prose. The first Slovene novel is Josip Jurčič's Deseti brat (The Tenth Brother), which was published in 1866, ten years earlier than his play Tugomer (Tugomer). However,Jurčičʹs tragedy Tugomer was artistically very much improved by the adaptation made by Fran Levstik, whose text has been since considered as the ʺtrueʺ version of this play. Further editions and adaptations of this play definitely prove that several Slovene authors have found the subject-matter of this play worthy of new interpretations. By the end of the nineteenth century the list of Slovene translators of Shakespeareʹs plays (most of them chose only some acts or scenes) was quite long. But it was only in 1899, when Ivan Cankarʹs translation of Hamlet appeared on stage of the Slovene National Theatre in Ljubljana, that a real master of the Slovene language approached one of Shakespeare's plays. Cankar became enthusiastic about Shakespeare's work and this is best seen also in Shakespeare's influence on three plays written by Cankar: Kralj na Betajnovi (The King of Betajnova, 1901), Pohujšanje v dolini Šentflorjanski (Scandal in the Valley of Saint Florian, 1907) and Lepa Vida (Beautiful Vida, 1911). The same kind of "enchantment" caught Oton Župančič, a Slovene poet, translator and dramatist, who had translated by 1924, when his Veronika Deseniška (Veronika of Desenice) appeared, several plays written by Shakespeare. A large number of echoes of Shakespeare's plays can be found in Župančič's play, not to mention the Bard's influence on Župančič's verse and style. Such influence can also be traced in Kreft's play. Many Slovene literary historians and critics mention in their studies Shakespeare's influence on Slovene dramatists but their reports are mainly seminal and rather generalizing. Therefore the purpose of this study is to provide a deeper analytical insight into this topic.
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Gibbs, G. C., David Jacques, and Arend van der Horst. "The Gardens of William and Mary." Garden History 16, no. 2 (1988): 199. http://dx.doi.org/10.2307/1586971.
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Patterson, W. B. "William Perkins versus William Bishop on the Role of Mary as Mediator." Studies in Church History 39 (2004): 249–58. http://dx.doi.org/10.1017/s0424208400015138.
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William Perkins and William Bishop, two of the leading spokesmen for their respective religious traditions in late sixteenth- and early seventeenth-century England, clashed in print over the status of the Blessed Virgin Mary, as well as a number of other issues. They were formidable adversaries. Perkins, the most widely-read English Protestant theologian of the day, helped to make Cambridge University a centre of Reformed thought and practice. Bishop, an Oxford-trained theologian with extensive experience and associations on the continent, eventually became the first Roman Catholic bishop in England since the death of the last surviving bishop of Mary I’s reign. Though discussions of the Virgin Mary were not major themes in the books of either writer, their views on this subject are significant in showing how the two traditions developed, in competition with each other, during this phase of the long English Reformation.
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Goodman, Lizbeth, Tony Coe, and Huw Williams. "The Multimedia Bard: Plugged and Unplugged." New Theatre Quarterly 14, no. 53 (February 1998): 20–42. http://dx.doi.org/10.1017/s0266464x00011702.
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The relationship between live theatre and the rapidly developing multimedia technologies has been ambiguous and uneasy, both in the practical and the academic arena. Many have argued that such technologies put the theatre and other live arts at risk, while others have seen them as a means of preserving the elusive traces of live performance, making current work accessible to future generations of artists and scholars. A few performance and production teams have entered the fray, deliberately pushing the technology to its limits to see how useful it may (or may not) be in dealing with the theatre. One such team – comprising Lizbeth Goodman, Tony Coe, and Huw Williams – forms the Open University BBC's Multimedia Shakespeare Research Project, and on 4 September 1997 they presented their work as the annual BFI Lecture at the Museum of the Moving Image on London's South Bank. What follows is an edited and updated transcript of the lecture – which was itself a ‘multimedia performance’ – intended to spark debate about the possibilities and limitations of using multimedia in creating and preserving ‘live’ theatre. Lizbeth Goodman is Lecturer in Literature at the Open University, where she chairs both the Shakespeare Multimedia Research Project and the new ‘Shakespeare: Text and Performance’ course. Tony Coe is Senior Producer at the OU/BBC, where Huw Williams was formerly attached to the Interactive Media Centre, before becoming Director of Createc for the National Film School, and subsequently Director of Broadcast Solutions, London. Together the team has created a range of multimedia CD-ROMs designed to test the limits and possibilities of new technologies for theatre and other live art forms – beginning with Shakespeare
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Carruthers, Gerard. "MARY ELLEN BROWN, William Motherwell's Cultural Politics." Journal of Scottish Historical Studies 21, no. 2 (November 1, 2001): 179–81. http://dx.doi.org/10.3366/jshs.2001.21.2.179.
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Walker, Mark. "From William and Mary to William III: Transitioning the Monarchy at the Funeral Rituals of Mary II, 1695." Royal Studies Journal 8, no. 2 (December 21, 2021): 146. http://dx.doi.org/10.21039/rsj.283.
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McConachie, Bruce A. "William B. Wood and the “Pathos of Paternalism”." Theatre Survey 28, no. 1 (May 1987): 1–14. http://dx.doi.org/10.1017/s0040557400008942.
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Theatre historians have been kind to William B. Wood, actor and co-manager of the Chestnut Street Theatre in the early nineteenth century. Reese D. James, in his Old Drury of Philadelphia: A History of the Philadelphia Stage, 1800–1835 (1932), set the sentimental tone that subsequent historians would echo. Relying extensively on Wood's Personal Recollections of the Stage (1855), James lamented that the Chestnut Theatre, following the breakup of Warren and Woods' management in 1826, became “a body without a soul.” In his Theatre U.S.A. (1959), Barnard Hewitt quoted copiously from Wood's Recollections, allowing the co-manager the final word on the deleterious effects of the star system. Calvin Primer's two articles published in the 1960s on Warren and Wood continued the tradition, picturing both managers as the unfortunate victims of rapacious stars.
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Rzepka, Charles J. "England's First Family of Writers: Mary Wollstonecraft, William Godwin, Mary Shelley. Julie Carlson." Wordsworth Circle 39, no. 4 (September 2008): 152–55. http://dx.doi.org/10.1086/twc24045229.
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Arons, Wendy. "Kurt Hirschfeld and the Visionary Internationalism of the Schauspielhaus Zürich." Theatre Survey 60, no. 03 (August 6, 2019): 385–413. http://dx.doi.org/10.1017/s0040557419000267.
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Outside Switzerland, the Schauspielhaus Zürich (Zürich Playhouse) is best known among theatre historians for the role it played in supporting and advancing the career of German playwright Bertolt Brecht during and just after World War II. We learn, from our studies of Brecht, that while he was living in exile in Finland and the United States his plays Mother Courage and Her Children, The Good Person of Szechwan, and Galileo all received their first productions in Zürich, and that when he returned to Europe from exile the city was also his initial destination. Brecht was not the only exiled playwright to find a producing home at the Schauspielhaus; the theatre has additionally long been recognized, particularly among German and Swiss theatre historians, for the important role it played in producing the work of many other exiled German and Austrian playwrights during World War II. Some American theatre historians have also made note of the quality of the work produced at the Schauspielhaus: for example, Oscar Brockett mentions the Zürich theatre in passing as “one of the best in Europe during the Nazi regime because so many refugees settled in Switzerland.” But what remains underrecognized among historians outside Switzerland is the pivotal role that both the Schauspielhaus and its dramaturg (and later artistic director) Kurt Hirschfeld played in keeping an international repertoire on life support in Europe when most of the Continent was under Nazi occupation (Fig. 1). A look at the list of wartime and postwar productions at the Schauspielhaus reveals a veritable who's who of the modern Western dramatic canon: productions of works by playwrights like Karel Čapek, Thornton Wilder, Jean Giraudoux, Jean-Paul Sartre, Paul Claudel, Federico García Lorca, T. S. Eliot, Arthur Miller, Tennessee Williams, Luigi Pirandello, and many, many—in fact, many dozens—of others.
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Stameshkin, David M., and Susan H. Godson. "The College of William and Mary: A History." History of Education Quarterly 35, no. 2 (1995): 190. http://dx.doi.org/10.2307/369634.
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Eichler, Evan E. "2020 William Allan Award introduction: Mary-Claire King." American Journal of Human Genetics 108, no. 3 (March 2021): 383–85. http://dx.doi.org/10.1016/j.ajhg.2020.12.011.
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Purdie, Susan, and Sarah Oliver. "WILLIAM FREND AND MARY HAYS: VICTIMS OF PREJUDICE." Women's Writing 17, no. 1 (April 8, 2010): 93–110. http://dx.doi.org/10.1080/09699080903533304.
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Kucherova, Anna O. "René Girard. A Theatre of Envy: William Shakespeare." Voprosy Filosofii, no. 2 (2022): 220–22. http://dx.doi.org/10.21146/0042-8744-2022-2-220-222.
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Lahaie, Scot. "Girard, René. A Theatre of Envy: William Shakespeare." Journal of Interdisciplinary Studies 18, no. 1 (2006): 199–201. http://dx.doi.org/10.5840/jis2006181/216.
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JENSEN. "The William Seymour Theatre Collection: A Curator's View." Princeton University Library Chronicle 48, no. 1 (1986): 6. http://dx.doi.org/10.2307/26404442.
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DUNKLEY, J. "Review. Beaumarchais and the Theatre. Howarth, William D." French Studies 51, no. 1 (January 1, 1997): 80. http://dx.doi.org/10.1093/fs/51.1.80.
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Charity Hudley, Anne H. "Engaging and Supporting Underrepresented Undergraduate Students in Linguistic Research and Across the University." Journal of English Linguistics 46, no. 3 (August 16, 2018): 199–214. http://dx.doi.org/10.1177/0075424218783445.
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This article describes my prior work as co-founder and director of the William & Mary Scholars Undergraduate Research Experience (WMSURE), a cross-departmental and cross-school program at the College of William & Mary, designed to support underrepresented undergraduate students in research. I focus first on how this program paved the way for more underrepresented students to major in and do research in linguistics at the College of William & Mary in a way that work done just within the linguistics program could not have done alone. I also describe how, as a result of my research focus on culturally and linguistically diverse students, my role as director of WMSURE expanded into work with admissions and development to recruit students who were interested in linguistics as well as to raise funds to support their research. I detail how a linguistic lens on social justice has provided the platform for spearheading this endeavor to promote the success of underrepresented students and thereby foster broader inclusion and equity efforts at William & Mary and across the university as a whole, providing a model for other linguists to promote similar endeavors elsewhere.
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Wallis, Mick. "Unlocking the Secret Soul: Mary Kelly, Pioneer of Village Theatre." New Theatre Quarterly 16, no. 4 (November 2000): 347–58. http://dx.doi.org/10.1017/s0266464x00014093.
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Though little remembered or honoured today, Mary Kelly (1888–1951) was one of the more enlightened among those who, between the wars, encouraged the then-booming amateur theatre into attempting more than the limp reproduction of West End successes. She had a strong belief in the intrinsically dramatic potential of the country dweller, imbued with generations of traditional lore: but unlike many of her more nostalgic contemporaries, Mary Kelly well recognized the class conflicts and history of deprivation of the rural poor, and blended such elements into the pageants she devised not only for her own village but for other rural communities – and which she encouraged others to emulate through her instructional writings. Mick Wallis, Reader in Performance Studies at Loughborough University, has written on modern-day pageantry in his two-part article on ‘Pageantry and the Popular Front’ in NTQ 38 and 41 (May 1994 and February 1995), and in ‘Delving the Levels of Memory and Dressing-up in the Past’ in Inter-War Theatres, edited by Clive Barker and Maggie Gale, forthcoming from Cambridge University Press. His millennium show, In the Twenty-First Century Everyone Will Be Stelarc for Fifteen Minutes (Rehearsal for a Ceremonial Event), with Jan Overfield and Movements in Mayhem, was premiered at Loughborough in December 1999.
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Schwoerer, Lois G. "Images of Queen Mary II, 1689-95*." Renaissance Quarterly 42, no. 4 (1989): 717–48. http://dx.doi.org/10.2307/2862278.
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At the time of the Revolution of 1688-89 in England, for the first time since the accession of Queen Elizabeth I one hundred and thirty years earlier, a woman had a claim to the crown of England in her own right—Princess Mary of Orange, wife of Prince William of Orange of the Netherlands and the elder daughter of James II, the Catholic king of England, by his first and Protestant wife. That claim was one possible solution to the question of who should head the new government, but it was finally decided to create a dual monarchy, a constitutional arrangement unique in the nation's history. Under it the prince and princess of Orange became King William III and Queen Mary II of England, with administrative power vested in William alone. Although regarded as a regnant queen, one of only six regnant queens in the nation's history, Mary, in fact, received no substantive regal power.
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Oliveira, Célia. "Shifting Perspectives on Male Black Masculinity and Britishness." Diálogos 3 (November 17, 2018): 124–32. http://dx.doi.org/10.53930/27892182.dialogos.3.85.
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This article intends to discuss issues related to what it means to be a black male in Britain, as well as the stereotypes related to black masculinity and sexuality. This theme will be broached through the analysis of three theatre plays by the acclaimed playwright Roy Williams – Lift Off (1999), Clubland (2001) and Joe Guy (2007). Roy Williams deals with the insecurities and frustrations of young men and the importance sex has in their lives. The plays raise many questions about cultural identity, not about what it means to be British but what it means to be a black male in Britain. The plays question the media-influenced stereotypes created by society on the relationships that young black people maintain.