Bibliografías temáticas / London (England). Windmill Theatre

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Literatura académica sobre el tema "London (England). Windmill Theatre"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 9 de febrero de 2022

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Artículos de revistas sobre el tema "London (England). Windmill Theatre"

Sierz, Aleks. "Death of England; Death of England: Delroy: National Theatre, London, UK". PAJ: A Journal of Performance and Art 43, n.º 3 (2021): 46–51. http://dx.doi.org/10.1162/pajj_a_00580.

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Quarmby, Kevin. "Lazarus Theatre's All-Female Henry V at The Union Theatre, London". Scene: Reviews of Early Modern Drama, n.º 1 (13 de octubre de 2018): 25. http://dx.doi.org/10.18357/scene01201718440.

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Hewitt, Jon. "Daring to Think Seriously: the Need for Aesthetic Judgements". New Theatre Quarterly 26, n.º 1 (febrero de 2010): 77–80. http://dx.doi.org/10.1017/s0266464x10000084.

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The issue of attitudes towards the arts in England is here compared and contrasted with those evident in the rest of Europe today. This article was written in June 2009, following discussions in Wroclaw during the festival ‘The World as a Place of Truth’, part of the Year of Grotowski. Jon Hewitt is Artistic Director of Admiration Theatre Company, based in London. He has directed several productions, the most recent being Romeo and Juliet Docklands, set in the East End of London. In February 2010 his latest production, Tower Hamlet, opens at the Courtyard Theatre.

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Powell, Andrew. "Operating in the Theatre of the Mind Therapy Both Tender and Bold". British Journal of Psychiatry 159, n.º 6 (diciembre de 1991): 13–14. http://dx.doi.org/10.1192/s0007125000031895.

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Psychodrama-Inspiration and Technique, edited by Paul Holmes and Marcia Karp, is published by Routledge, London (£14.99 (pb), £35.00 (hb), 253 pp., 1991). Paul Holmes is a child and adolescent psychiatrist, formerly consultant at St George's Hospital, London, and now based in Mexico. He is a member of the London Centre for Psychotherapy and was the first chairman of the British Psychodrama Association. Marcia Karp trained in psychodrama in the USA under its founder, Dr J. L. Moreno. Since moving to England, where she established the Holwell Centre for Psychodrama Training, she has been instrumental in setting up training schemes throughout Europe.

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Fink, Robert J. "Ronald W. Vince. Renaissance Theatre: A Historiographical Handbook. Westport, Connecticut; London, England: Greenwood Press, 1984Ronald W. Vince. Renaissance Theatre: A Historiographical Handbook. Westport, Connecticut; London, England: Greenwood Press, 1984. xi + 204 pp." Canadian Modern Language Review 42, n.º 3 (enero de 1986): 731–32. http://dx.doi.org/10.3138/cmlr.42.3.731.

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Trussler, Simon. "Charles Marowitz in London: Twenty-Five Years Hard: Marowitz in the Sixties". New Theatre Quarterly 30, n.º 3 (agosto de 2014): 203–6. http://dx.doi.org/10.1017/s0266464x14000402.

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Charles Marowitz, who died on 2 May this year, arrived in England from his native New York in 1956, on a scholarship earned for service in Korea. He immediately found in Unity Theatre a venue for his first London production, and in the following year opened his own theatre – an attic in the headquarters of the British Drama League known as In-Stage. In 1981, after the closure of his last and longest London base, the Open Space Theatre in Tottenham Court Road, he left, disillusioned with his adopted country, to settle in California, creating companies in Los Angeles and in his new home of Malibu. But during the momentous decade of the sixties it was British theatre that Marowitz helped to reshape – not least in developing London's still flourishing ‘fringe’. In this feature, NTQ co-editor Simon Trussler celebrates not only Marowitz's directing career, on which many obituarists have written, but also – through personal recollections of the man in those early years – the many other ‘hats’ he wore: as theatre critic, editor, playwright, and cultural entrepreneur. Marowitz's long-term professional partner, Thelma Holt, shares her own memories of the twelve years when together they formed and ran the Open Space. Marowitz contributed to the old TQ and to New Theatre Quarterly, but here we include some of the articles he wrote in later life for the online Swans Commentary, to which we are most grateful for permission to reprint. All are from 2012, when Parkinson's disease was tightening its hold, and so are among the very last pieces he wrote.

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Cocker, Alan. "The Showgirls from Eltham, the Windmill Theatre and the V2 Rocket: One family’s experience as a window on aspects of interwar cultural life". Back Story Journal of New Zealand Art, Media & Design History, n.º 5 (1 de diciembre de 2018): 23–39. http://dx.doi.org/10.24135/backstory.vi5.34.

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The journey of the Cooper family from small town New Zealand in the early 1920s to Sydney, and then to London, where they arrived in May 1935, provides a frame to look at aspects of social change in the interwar period. Their story, which sees the two daughters of the family appearing in the risqué nude revues at London's Windmill Theatre in the early years of the Second World War, could be viewed as exotic and atypical but does provide a vehicle to look at aspects of cultural change and media influence during a time when “modern women understood self-display to be part of the quest for mobility, self-determination, and sexual identity"1 1 Liz Conor, The Spectacular Modern Woman:Feminine Visibility in the 1920s (Bloomington: Indiana University Press, 2004), p.29. Conorargues that the importance of the association of feminine visibility with agency cannot be overestimated.

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Hill, Errol. "Morton Tavares: Jamaican and International Actor". Theatre Research International 15, n.º 3 (1990): 213–23. http://dx.doi.org/10.1017/s0307883300009688.

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It is not widely known that the Caribbean island of Jamaica enjoys a tradition of live theatre that may well be second to none in the English-speaking world, save only in England itself. Conquered from Spain in 1655, the island boasted an active theatre as early as 1682, not very long after public playgoing had returned to England following the Cromwellian interregnum. Records are silent about theatre for the next several decades, but by the 1730s troupers from England had begun regular visits which culminated in the two long residencies of the famed Hallam Company that came to Virginia from London in 1752. Under the senior Hallam the company journeyed to Jamaica in 1754 and remained there, after Hallam's death, until 1758 when they returned to America, led by David Douglass. Again from 1775 to 1785 the company sojourned in Jamaica, waiting out the War of Independence, this time under Lewis Hallam junior. The record of their performances in the island has been chronicled in Richardson Wright's book Revels in Jamaica (1937), which has recently been reissued.

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Barrett, Daniel. "It Is Never Too Late to Mend (1865) and Prison Conditions in Nineteenth-Century England". Theatre Research International 18, n.º 1 (1993): 4–15. http://dx.doi.org/10.1017/s0307883300017533.

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The première of It Is Never Too Late to Mend at the Princess's Theatre on 4 October 1865 marked the appropriately tumultuous return of Charles Reade to the London stage after an absence of nine years. That night, one of the most memorable disturbances in the nineteenth-century theatre occurred when the drama critics in attendance, led by Frederick Guest Tomlins of the Morning Advertiser, demanded that the play be halted because of its offensive subject matter and one particularly shocking scene. The dispute became a cause celebre among critics, dramatists, and the general public and was recalled (with varying degrees of accuracy) years later by its participants, witnesses, and other interested parties.

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Williams, Roy. "Roy Williams, in conversation with Aleks Sierz What Kind of England Do We Want?" New Theatre Quarterly 22, n.º 2 (19 de abril de 2006): 113–21. http://dx.doi.org/10.1017/s0266464x06000352.

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Roy Williams is one of the outstanding new voices in contemporary British theatre. Born in Fulham, south-west London, in 1968, he has already, by his mid-thirties, won a shelf-full of awards, with plays staged at the National Theatre and Royal Court. His debut, The No Boys Cricket Club, won the Writers' Guild New Writer of the Year award in 1996. Two years later, his follow-up, Starstruck, won three major awards: the John Whiting Award for Best New Play, an EMMA (Ethnic Multicultural Media Awards) for Best Play, and the first Alfred Fagon Award, for theatre in English by writers with Caribbean connections. In 2000, Lift Off was joint winner of the George Devine Award, and in 2001 Clubland received the Evening Standard Award for Most Promising Playwright. In 2002, Williams received a best school drama BAFTA (British Academy of Film and Television Arts) for Offside (BBC), and in 2004 he won the first Arts Council Decibel Award, given to black or Asian artists in recognition of their contribution to the arts. His most recent play, Little Sweet Thing, was a 2005 co-production between Ipswich’s New Wolsey Theatre, Nottingham Playhouse, and Birmingham Rep. What follows is an edited transcript of Aleks Sierz’s ‘In Conversation with Roy Williams’, part of the ‘Other Voices’ symposium at Rose Bruford College, Sidcup, Kent, in May 2004, organized by Nesta Jones. Williams is a graduate and now a Fellow of the college.

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Tesis sobre el tema "London (England). Windmill Theatre"

Richards, Keith Owen. "The Red Bull as community theatre in Clerkenwell". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37230.pdf.

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Botica, Allan Richard. "Audience, playhouse and play in Restoration theatre, 1660-1710". Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:6dc8576e-e5cf-4514-ad90-19e7b1253c8e.

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This thesis addresses three aspects of the relationship between audience, playhouse and play in Restoration theatre from 1660 to 1710. It provides a comprehensive account of the composition of the Restoration audience, an examination of the effect this group of men and women had upon the plays they attended and an account of the ways in which the plays and playhouses of the Restoration touched the lives of London's inhabitants. In the first part of this dissertation I identify the audience. Chapter 1 deals with London's playhouses, their location, archictecture and decoration. It shows how the playhouses effectively created two sets of spectators: the visible and the invisible audience. Chapter 2 is a detailed examination of those audiences, and the social and occupational groupings to which they belonged. Chapter 3 deals with the support the stage received. It analyses attendance patterns, summarizes evidence of audience size, presents case studies of attendance patterns and outlines the incidence and effects of recurrent playgoing. In the second part of the dissertation I deal with theatricality, with the representation of human action on and off the stage. I examine the audience's behaviour in the playhouses and the other public places of London. I focus on the relationships between stage and street to show how values and attitudes were transmitted between those two realms. To do this, I analyse three components of theatrical behaviour--acting, costume, and stage dialogue and look at their effect on peoples' behaviour in and ideas about the social world. Chapter 4 is an introduction to late seventeenth century ideas of theatricality. Chapter 5 examines contemporary ideas of dress and fashion and of their relationship to stage costuming. Chapter 6 considers how contemporary ideas about conversation and criticism affected and were in turn affected by stage dialogue.

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Hicks, William L. "Social Discourse in the Savoy Theatre's Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection". Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/hicks%5Fwilliam/index.htm.

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Ritter, Christina. "On hallowed ground the significance of geographic location and architectural space in the indenties [sic] of the Royal Shakespeare Company and Shakespeare's Globe /". The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1188510799.

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Goncalves, De Aranjo Passos Stéphanie. "Une guerre des étoiles: les tournées de ballet dans la diplomatie culturelle de la Guerre froide, 1945-1968 /cStéphanie Gonçalves de Aranjo-Passos". Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209106.

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Ma thèse de doctorat explore les tournées de ballet des « six grandes » compagnies mondiales pendant la Guerre froide (1945-1968) :ballet de l’Opéra de Paris, Royal Ballet de Covent Garden, Bolchoï et Kirov, New York City Ballet et American Ballet. Elle envisage le ballet comme un outil de diplomatie culturelle transnationale, avec un focus particulier sur les acteurs, qu’ils soient institutionnels, artistiques ou commerciaux. Outre un aspect quantitatif qui nous a amené à cartographier les tournées, il s’agit d’une histoire incarnée par des femmes et des hommes − les danseurs − dont le métier est de tourner sur les scènes internationales, encadrés par des administrateurs et des gouvernements, qui n’ont pas les mêmes priorités et agendas les uns et les autres.

Cette recherche met justement en avant les tensions, les difficultés et les dynamiques entre les différents acteurs. La thèse se construit autour de tournées représentatives du lien ténu entre danse et politique, des épisodes qui mettent en valeur les points chauds de cette Guerre froide, ayant comme point de départ ou d’arrivée Londres et Paris.

La description de la danse comme un langage, une pratique physique et un métier permet de comprendre en quoi la danse peut être un outil de communication politique et comment il a été utilisé comme tel dans la longue durée et en particulier pendant la guerre froide. Les différentes échelles – le passage régulier de la macro-histoire à la micro-histoire et inversement ainsi que les flux d’échanges culturels multiples à l’échelle internationale – ont permis de mettre en avant une multiplicité d'acteurs (artistiques, gouvernementaux, commerciaux). La constitution du mythe de la danseuse étoile, et ses représentations, résonne également avec d’autres figures mythiques construites dans la Guerre froide, comme celle de l’astronaute.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Libros sobre el tema "London (England). Windmill Theatre"

Streatfeild, Noel. Theatre shoes. London: Jane Nissen, 2009.

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Greenhill, Wendy. Shakespeare's theatre. Oxford: Heinemann Library, 2006.

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Jackson, Allan Stuart. The standard theatre of Victorian England. Vestal, N.Y: A.S. Jackson, 1985.

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Jackson, Allan Stuart. The Standard Theatre of Victorian England. Rutherford [N.J.]: Fairleigh Dickinson University Press, 1993.

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Baer, Marc. Theatre and disorder in late Georgian London. Oxford [England]: Clarendon Press, 1992.

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Trewin, Wendy. The Arts Theatre, London, 1927-1981. London: Society for Theatre Research, 1986.

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Shakespeare's theatre. 2^a ed. London: Routledge, 1992.

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Burling, William J. Summer theatre in London, 1661-1820, and the rise of the Haymarket Theatre. Madison, N.J: Fairleigh Dickinson University Press, 2000.

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Jennings, Sue y Christine Eccles. The Rose Theatre. London: Nick Hern Books, 1990.

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Edric, Robert. The London satyr. London: Black Swan, 2012.

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Capítulos de libros sobre el tema "London (England). Windmill Theatre"

"PART II Staging Roman Comedy in Stuart London Introduction: Stages of Translation in Early Modern England". En Thomas Heywood's Theatre, 1599–1639, 171–86. Routledge, 2016. http://dx.doi.org/10.4324/9781315236148-12.

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Bergeron, David M. "Fire and phoenix". En Shakespeare's London 1613. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526115461.003.0002.

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This chapter begins with the burning of the Globe Theatre on 29 June 1613 and comments on the play being performed there, Henry VIII. This play’s ending looks forward to the reign of King James and creates the image of ‘phoenix’. The discussion circles back to James’s poem Phoenix, and its final anticipation of Ludovic Stuart, the 9-year-old son of Esmé. On his arrival in Scotland, Ludovic assumed his father’s title as Duke of Lennox. He followed James to England and served him as a major confidant, becoming a kind of ‘phoenix’. The chapter includes a brief discussion of Lennox’s participation in a variety of political and cultural events. It closes with Two Noble Kinsmen, which, with its funerals and wedding, points toward the events of 1613.

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Saxon, Theresa. "Ira Aldridge in the North of England: Provincial Theatre and the Politics of Abolition". En Britain's Black Past, 275–94. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621600.003.0016.

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African American actor Ira Aldridge, who toured widely across Britain, Scotland, Ireland, and Europe and is the first known black performer to play Othello in England, is the focus of this chapter by Theresa Saxon. She focuses on the critical reception of his work in London and in provincial theatres in the North West and how newspaper reviews of his performances reflected regional attitudes toward racial identities and debates about enslavement. Saxon describes how theatres, in addition to the Church and the press, were one of the central loci of the dramatization of arguments over the slave trade and abolition of slavery. Aldridge’s reviews in London papers, where his characters were almost always enslaved, were largely racist and even his defenders’ reviews were through the lens of race. In contrast, his reception in the regional patent theatres of Manchester, Liverpool and Lancaster, centers of abolitionist activity, were typically positive and lauded. Although there does not seem to have been direct association between Aldridge and abolitionist figures, much of the critical praise he received smacked with the rhetoric of abolitionism as it focused on his skill and intellect to illustrate the wrongs of pro-slavery arguments of racial hierarchies.

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Hall, Edith. "Classical Epic and the London Fairs, 1697–1734". En Epic Performances from the Middle Ages into the Twenty-First Century, 439–60. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0030.

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This chapter argues that our understanding of the cultural presence of classical epic in England between Dryden’s Aeneid and Pope’s Homer needs to be supplemented by familiarization with Elkanah Settle’s fairground droll The Siege of Troy, the central entertainment depicted in Hogarth’s Southwark Fair (1734–5). The show was a popular favourite between the late 1690s and at least 1734, at both Southwark and Bartholomew fairs and in enactment by both actors and puppets. After describing Settle’s own career and setting the droll’s contents in cultural, aesthetic, and historical contexts, the chapter argues that its message of a transhistorical Trojan/British working class with a continuous identity and recreational culture is telling in the context of the serial changes of constitution and ruling class over the previous seventy years. The droll was also an important link in the transhistorical chain of performances related to Troy, from Shakespeare to Victorian burlesque theatre.

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Oppitz-Trotman, George. "Prologue". En Stages of Loss, 1–34. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198858805.003.0001.

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The virtues of theatre in a European tradition have generally been connected to its perceived success in concealing or graduating from its (allegedly) degrading origins in travel and movement. Scholarly pursuit of historical itinerant theatre has often been accompanied by evaluative criticism of its achievements, obscuring or misrepresenting the dependence of canonical drama upon transnational circulation of materials and the experience of travel. In the summer of 1592, the English theatrical scene in London disintegrated due to the plague. The Admiral’s Men split into several different groups. Some of its players embarked on tours of the English provinces. Others left England and established the first professional theatre tradition in northern and central Europe. Known as the English Comedians, this latter group would be the first to perform adaptations of Marlowe and Shakespeare abroad. Their tradition overturned ancient festive schedules of performance, with profound consequences for civic life in many Imperial cities. Finding some success, the tradition persisted unevenly for many decades and would assist in creating a lasting impression of theatre and its effect on values cultural, national, economic, moral.

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Oakley, Warren. "When sorrows come, they come not single spies". En Thomas 'Jupiter' Harris, 123–70. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526129123.003.0004.

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This chapter recounts the destruction of Covent Garden theatre by fire in 1808. In piecing together this event, it explores Harris’s potential complicity in the fire; his attempts to finance the rebuilding of the theatre; and the far-reaching financial, social, and political consequences. In doing so, Harris’s relationship with the Duke of Bedford is brought into focus. On the opening of the new theatre in 1809, terror was brought to the Garden through the Old Price riots. As these riots frustrated all attempts at performance for nearly three months, they hold an important place in the history of disorder in England. The riots gave a group of leading Westminster radicals, including Henry Clifford, the chance to oppose Harris and fight his political dominance. They reveal the defeat of a government agent during one of the most turbulent periods in the capital’s history. Only through understanding Harris’s career is it possible to appreciate fully the fight against radicalism in early nineteenth-century London.

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Gillen, Katherine. "Introduction: Chastity and the Question of Value". En Chaste Value. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474417716.003.0001.

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The introduction demonstrates that chastity discourse resonates strongly with commercial discourses about currency, commodities, and value. It mines mercantile tracts, conduct books, and writings about life in commercial London to show how early moderns interpreted rapidly shifting evaluations of currency, commodities, and selfhood. Readings of several primary texts elucidate the significance of chastity within English national discourse and establishe linkages between the epistemological questions surrounding chastity and those concerning commerce. The introduction also addresses the material conditions of the theatre, as the theatre’s commercial investments and embodied, often cross-dressed modes of representation heighten its concern with questions of value, commoditisation, and economic subjectivity. This opening chapter lays the groundwork for Chaste Value’s central claim that the public theatre engages with economic chastity discourse as a means of working through questions of personal value in early capitalist England.

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Leemans, Inger. "‘New Plays resemble Bubbles, we must own’". En Comedy and Crisis, 179–202. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622201.003.0009.

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This chapter addresses how finance and the theatre became interwoven in the early eighteenth century, with the theatre functioning as a platform for the production and dissemination of financial knowledge. The eighteenth-century theatre in Amsterdam and London served as a source of news, and political and social commentary. The Bubble plays of 1720, and especially Langendijk’s comedies, helped to conceptualize stock trading by analyzing and illustrating its specific dynamics. This essay also addresses differences between the nations that participated in the Bubble and argues that, while in the Netherlands the public generally approved of stock trade, few stepped forward in England to defend openly the new securities market or those responsible for financial governance. Likewise, French plays of the period tended to focus criticism on John Law’s new system of paper currency, rather than attempting to explain it as did their Dutch counterparts. This essay discusses such cultural distinctions in detail, with Langendijk’s plays as central source texts, arguing that, notwithstanding the views of economic and financial historians, who see the long-term economic impact of the Dutch Bubble of 1720 as minimal, the cultural impact of the Bubble left a lasting mark in the Netherlands.

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Glazzard, Andrew. "Conclusion". En The Case of Sherlock Holmes, 229–36. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474431293.003.0022.

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‘You will be amused to hear that I am at work upon a Sherlock Holmes story. So the old dog returns to his vomit.’¹ Arthur Conan Doyle to Herbert Greenhough Smith Sherlock Holmes, who died in Switzerland in May 1891, returned to the world on 23 October 1899. The location for his rebirth was, somewhat surprisingly, the Star Theatre in Buffalo, New York. Early the following month, Holmes moved to New York where he could be found in Manhattan’s Garrick Theatre on 236 separate occasions, before making his way across the United States. In September 1901, Holmes went back to Great Britain, arriving (like so many travellers from the US) at Liverpool, before reaching London on 9 September 1901. He was so much in demand that on 1 February 1902 he received an audience with King Edward VII and Queen Alexandra. In 1902 he was again in New York, was seen travelling across northern England in 1903, and for the next thirty years popped up repeatedly in various American towns and cities....

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Rankin, Deana. "‘Marpesia cautes’". En Epic Performances from the Middle Ages into the Twenty-First Century, 361–76. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0025.

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Amazons have long made their presence felt in epics of love, empire, and war; and from early antiquity to the present day, it is both at generically rocky impasses and geographically distinct interstices that they make themselves known. This chapter explores these ideas with respect to the performance of the Amazon on the English and Irish stage across the first half of the seventeenth century. It focuses on a particular moment in early 1640, on the verge of the outbreak of civil war across the Three Kingdoms of England, Ireland, and Scotland, when, in London, Sir William Davenant’s Salamanca Spolia is performed at court and, in Dublin, Henry Burnell’s play Landgartha is performed at the public theatre in Werburgh Street. It locates these coinciding performances in the context of two evolving and competing English literary embodiments of the figure of the Amazon.

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