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Artículos de revistas sobre el tema "Performance; Theatre history"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de febrero de 2022

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1

Bertilotti, Teresa. "Un dramma "concepito come un romanzo d'appendice". Traduzioni del Risorgimento sulle scene della Grande guerra." MEMORIA E RICERCA, no. 29 (March 2009): 101–21. http://dx.doi.org/10.3280/mer2008-029007.

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- The article focuses on Italian theatre and its reception during the First World War, in particular on the dramas and performances based on the Risorgimento's history. This type of performance cannot be considered as high or low theatre: the plots cannot be bound to one category, audience reactions are the same in Milan as they are in small city theatres and in schools, independently from who is acting. The author sheds light on the popularization process of national history through theatre and at the same time, contextualises these apparently opaque plots, in an attempt to understand what th

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2

Balme, Christopher, and Tracy C. Davis. "A Cultural History of Theatre: A Prospectus." Theatre Survey 56, no. 3 (2015): 402–21. http://dx.doi.org/10.1017/s0040557415000320.

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If theatre historians had been paying attention to the proceedings at a Gilbert and Sullivan conference in Lawrence, Kansas in 1970, they would have heard a gauntlet strike the ground when Michael R. Booth delivered “Research Opportunities in Nineteenth-Century Drama and Theatre.” He called for research on audiences (“cultural levels, class origins, income, tastes, and development”), performance in the hinterlands (“we know that in 1866 60% of the theatre seats in metropolitan London were outside the West End”), economics (“theatre profits and losses, actors' wages, authors' income, management

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3

Schechner, Richard. "Quo Vadis, Performance History?" Theatre Survey 45, no. 2 (2004): 271–74. http://dx.doi.org/10.1017/s0040557404000249.

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Frankly, I'm not much of a historian. That is, the past interests me mostly as grist for my theoretical mill. I am not nostalgic. I don't often trek through ruins—whether of stone, paintings, videotape, paper, library stacks, or my own many notebooks. Of course, I've done the right thing when it comes to this kind of activity. I have climbed the pyramids at Teotihuacan and in Mayan country, sat on stone benches of the Theatre of Dionysus in Athens and in Epidaurus (where I was tormented by some really awful productions of ancient Greek dramas), and visited the theatre museums of four continent

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4

CANNING, CHARLOTTE. "Directing History: Women, Performance and Scholarship." Theatre Research International 30, no. 1 (2005): 49–59. http://dx.doi.org/10.1017/s0307883304000860.

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The emergence of the director is usually seen as a crucial moment in late nineteenth-, early twentieth-century theatre history. Traditionally, the narrative of that emergence has focused on the director as a sole heroic individual, usually male. This article questions how that figure and those practices have been historicized. That historicization process has been (and continues to be) a disciplinary demonstration of power marked by the concomitant political operations of personal, geographical, and institutional identifications and affiliations. The specific political operation explored here

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5

Roberts, David. "Ravishing Strides: Signs of the Peripatetic in Early Modern Performance." New Theatre Quarterly 17, no. 1 (2001): 18–30. http://dx.doi.org/10.1017/s0266464x00014299.

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Actors' feet are accepted as part of their expressive equipment – but doubts are often expressed that this has always been so. The evidence of early English theatre history is adduced to suggest otherwise, while recent treatments of the peripatetic in literary studies argue that the ‘visible walk’ attains prominence only in the Romantic period. But David Roberts argues that, from the emergence of permanent theatres, walking offered a metonymy for performance which persisted throughout the seventeenth century. Cross-dressing highlighted the expressive potential of the feet, while close examinat

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6

Brown, John Russell. "Shakespeare, the Natyasastra, and Discovering Rasa for Performance." New Theatre Quarterly 21, no. 1 (2005): 3–12. http://dx.doi.org/10.1017/s0266464x04000284.

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Recognizing analogies between the assumptions about theatricality found in the classic Sanskrit treatise on acting, the Natyasastra, and those of the Elizabethan theatre, John Russell Brown suggests that the concept of rasa as the determining emotion of a performance is similar to that of the Elizabethan ‘humour’, or prevailing passion, as defined by Ben Jonson. Here he describes his work exploring what happens when actors draw on their own life experiences to imagine and assume the basic rasa of the character they are going to present, based on experiments in London with New Fortune Theatre;

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7

Ley, Graham. "Diaspora Space, the Regions, and British Asian Theatre." New Theatre Quarterly 27, no. 3 (2011): 215–28. http://dx.doi.org/10.1017/s0266464x11000431.

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In 1996 Graham Ley compiled for NTQ a record of the first twenty years of Tara Arts, the London-based British Asian theatre company. In this essay, he tests the theoretical concept of a third space for diaspora culture against the experience of two leading British Asian theatre companies, and considers the contrasting role of an Asian arts centre. From 2004 to 2009 Graham Ley led an AHRC-funded research project on ‘British Asian Theatre: Documentation and Critical History’, and has co-edited with Sarah Dadswell two books soon to be published by the University of Exeter Press: British South Asi

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8

Frantzen, Allen J. "DRAMA AND DIALOGUE IN OLD ENGLISH POETRY: THE SCENE OF CYNEWULF'SJULIANA." Theatre Survey 48, no. 1 (2007): 99–119. http://dx.doi.org/10.1017/s0040557407000385.

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InThe Semiotics of Performance, Marco de Marinis notes that the field of performance studies has greatly expanded the traditional categories of drama and theatre. “It is obvious,” he writes, “that we are dealing with a field that is far broader and more varied than the category consisting exclusively oftraditional stagings of dramatic texts, to which some scholars still restrict the class of theatrical performances.” A few scholars of early theatre history have embraced expanded categories of performance. Jody Enders's “medieval theater of cruelty,” for example, rests on a concept of “atheoryo

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9

HAUPTFLEISCH, TEMPLE. "Tipping Points in the History of Academic Theatre and Performance Studies in South Africa." Theatre Research International 35, no. 3 (2010): 275–87. http://dx.doi.org/10.1017/s0307883310000581.

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This article considers five tipping points or phases in the development of modern theatre studies in South Africa. It begins with the period from 1925 to 1935, a time when the first major theatre history appeared, a fully fledged (Western) theatre system was established and the African theatre tradition was recognized. It details 1945 to 1962 for the establishment of a coherent professional theatre system, the first state-funded theatre company and the first drama departments. Thereafter, 1970 to 1985 is identified as the most significant period in relation to the political struggle for libera

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10

Thomas, Kyle A. "The Medieval Space: Early Medieval Documents as Stages." Theatre Survey 59, no. 1 (2018): 4–22. http://dx.doi.org/10.1017/s0040557417000461.

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Peter Brook begins the second chapter ofThe Empty Space,“The Holy Theatre,” with a lament for the loss of sacred approaches to theatre; approaches that satisfy a community's need to make visible its identity, its hope, and its history. In describing the vacuum within the modern theatre once occupied by ceremony—what he defines as the importance of a noble aim for theatre—Brook critiques hollow and backward attempts to fill new and grand spaces with old and meaningless ritual. In postwar Europe, he saw a need for new spaces that “crie[d] out for a new ceremony, but of course it is the new cerem

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11

Symes, Carol. "The History of Medieval Theatre / Theatre of Medieval History: Dramatic Documents and the Performance of the Past." History Compass 7, no. 3 (2009): 1032–48. http://dx.doi.org/10.1111/j.1478-0542.2009.00613.x.

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12

Lee, Erin. "Navigating Ireland’s theatre archive: theory, practice, performance." Archives and Records 41, no. 1 (2019): 88–90. http://dx.doi.org/10.1080/23257962.2019.1702004.

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13

Reinheimer, David A., and Christopher Cairns. "The Renaissance Theatre: Texts, Performance, Design." Sixteenth Century Journal 32, no. 3 (2001): 792. http://dx.doi.org/10.2307/2671521.

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14

BALME, CHRISTOPHER. "Editorial." Theatre Research International 29, no. 1 (2004): 1–3. http://dx.doi.org/10.1017/s0307883303001202.

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The first issue of the journal in 2004, and the first under my editorship, is devoted to a special focus on ‘Postdramatic Theatre’. While this term may not be familiar to many readers, the phenomenon it embraces most certainly is. Coined by the German theatre studies scholar, Hans-Thies Lehmann in his book Postdramatisches Theater,1 the concept refers to tendencies and experiments defining theatre outside the paradigm of the dramatic text. Also known, somewhat imprecisely, as postmodern theatre, it questions fundamentally the very tenets of the dramatic theatre. Postdramatic performances usual

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15

Pesti, Madli, and Kristiina Reidolv. "Institutional and artistic changes in Estonian performing arts with a case study of Vaba Lava / Open Space." Nordic Theatre Studies 30, no. 1 (2018): 34–54. http://dx.doi.org/10.7146/nts.v30i1.106917.

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The article gives an insight into the theatre system of Estonia, the development of the system in the turmoil of history and the current situation in the 21st century. The first part of the article looks back at the period of 30 years: what happened with the Estonian theatre system when it moved from the Soviet occupation period into the Republic of Estonia. We show the developments in the funding system of theatres during the big changes in the socio-economic environment. We give an insight into how theatres are funded nowadays: how the funding of public and private theatres is connecte

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16

Ley, Graham. "Towards a Theoretical History for Greek Tragedy." New Theatre Quarterly 31, no. 2 (2015): 144–63. http://dx.doi.org/10.1017/s0266464x15000251.

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Greek tragedy and its theatre have regularly been drawn into modern theoretical formulas about the nature of theatre making, in proposals which have often had their own cause to plead, but which have still been influential on broadly formed views of the theatre in its history. In this essay, Graham Ley argues that much incidental misrepresentation can be found in this kind of writing alongside the occasional remarkable insight, and that the attention given in modern theory to the Greek theatre is generally inadequate. The theorists discussed are Isadora Duncan, Brecht, Boal, and Hans-Thies Leh

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17

Rosenfield, Kirstie Gulick, and Elizabeth C. Ramirez. "Chicanas/Latinas in American Theatre: A History of Performance." Western Historical Quarterly 33, no. 1 (2002): 82. http://dx.doi.org/10.2307/4144738.

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18

Robinson, Joanne. "Mapping Performance Culture: Locating the Spectator in Theatre History." Nineteenth Century Theatre and Film 31, no. 1 (2004): 3–17. http://dx.doi.org/10.7227/nctf.31.1.2.

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19

GINDT, DIRK. "Lest We Forget: HIV/AIDS and Queer Theatre and Performance in Canada." Theatre Research International 40, no. 1 (2015): 75–78. http://dx.doi.org/10.1017/s0307883314000583.

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Lest We Forget, my current research project at Concordia University, critically analyses the history of queer theatre and performance as it intersects with the HIV/AIDS epidemic in Canada. Stretching over three decades and taking the country's bilingualism into consideration, its objectives are to study the aesthetic variety and political complexity of plays and performances that attend to the epidemic and to identify the multiple challenges faced by theatre artists and activists. Furthermore, the project explores the methodological and historiographical challenges when studying HIV/AIDS theat

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20

Bollen, Jonathan, Julie Holledge, and Joanne Tompkins. "Putting virtual theatre models to work: ‘virtual praxis’ for performance research in theatre history." Theatre and Performance Design 7, no. 1-2 (2021): 6–23. http://dx.doi.org/10.1080/23322551.2021.1925469.

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21

Graham-Jones, Jean. "Latin American(ist) Theatre History: Bridging the Divides." Theatre Survey 47, no. 2 (2006): 209–15. http://dx.doi.org/10.1017/s0040557406000172.

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In October 2004, I edited Theatre Journal's special issue on Latin American theatre. In addition to five essays on subjects ranging from sixteenth-century Amerindian performance to a twenty-first-century Mexican adaptation of an Irish play, that issue included a forum on the state of Latin American theatre and performance studies in the United States today. Even though the thirteen respondents resided, independently or as affiliates, in different disciplinary homes (theatre, performance, languages, and literature) and took multiple points of departure, a common thread ran throughout their comm

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22

Cochrane, Claire. "The haunted theatre." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (2018): 75–88. http://dx.doi.org/10.1177/0184767818774857.

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Forests, the production by the iconoclastic Spanish-Catalan director Calixto Bieito staged at the ‘Old’ Birmingham Repertory Theatre in September 2012, functions here as the starting point for an exploration of the way a radical revisioning of Shakespeare in performance stimulated through an engagement with European modernism began in this now venerable theatre over 100 years ago. What was dubbed Bieito’s ‘epic arboreal mash-up’ was I suggest haunted by the material traces of groundbreaking past performances mounted by the Rep’s founder Barry Jackson, which included the first Shakespeare in mo

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23

Davis, C. B. "Cultural Evolution and Performance Genres: Memetics in Theatre History and Performance Studies." Theatre Journal 59, no. 4 (2008): 595–614. http://dx.doi.org/10.1353/tj.2008.0021.

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24

McEvoy, W. "10 * Theatre and Performance." Year's Work in Critical and Cultural Theory 14, no. 1 (2006): 173–94. http://dx.doi.org/10.1093/ywcct/mbl010.

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25

McEvoy, W. "10 * Theatre and Performance." Year's Work in Critical and Cultural Theory 15, no. 1 (2007): 186–202. http://dx.doi.org/10.1093/ywcct/mbm010.

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26

McEvoy, W. "7 * Theatre and Performance." Year's Work in Critical and Cultural Theory 16, no. 1 (2008): 196–214. http://dx.doi.org/10.1093/ywcct/mbn007.

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27

McEvoy, W. "4 * Theatre and Performance." Year's Work in Critical and Cultural Theory 17, no. 1 (2009): 125–47. http://dx.doi.org/10.1093/ywcct/mbp002.

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28

MCMAHON, CHRISTINA S. "Mimesis and the Historical Imagination: (Re)Staging History in Cape Verde, West Africa." Theatre Research International 33, no. 1 (2008): 20–39. http://dx.doi.org/10.1017/s0307883307003379.

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This article examines what is at stake when performers and playwright critically transfigure oral histories when staging them theatrically. Representations of race and colonial history are integral to a nation's conception of its own cultural identity. These issues are at the forefront of many theatre productions in Cape Verde, an intensely creolized West African nation whose islands bear traces of the Europeans and Africans who have commingled there for centuries. The article examines two performances rooted in Cape Verdean history that challenge existing theoretical paradigms for the mimetic

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29

Hoogland, Rikard. "The Valuation of Popular Theatre Performances: The Forgotten Success Story of Ljungby horn." Nordic Theatre Studies 29, no. 2 (2018): 6. http://dx.doi.org/10.7146/nts.v29i2.104603.

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Albert Ranft started as an actor in touring theatre companies in the 1880’s, but soon became responsible for one of the most important groups. Twenty-five years later, he ran a big company with about 2500 employees, owned theatres in Stockholm and Gothenburg as well as a couple of touring companies.His repertoire was based on popular entertainment plays, revues, operettas, historical plays, contemporary dramas etc. Simultaneously, his companies could offer ‘highbrow’ and ‘lowbrow’ productions. Even the actors could, during just one week, work in different genres. The way of programing was fo

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30

Dean, David. "Theatre: A Neglected Site of Public History?" Public Historian 34, no. 3 (2012): 21–39. http://dx.doi.org/10.1525/tph.2012.34.3.21.

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Abstract Although theatrical representations of the past have been examined by theatre and performance studies scholars, public historians have preferred to focus on historical re-enactments in living history sites, museums, or on film and television. This article argues that theatre is a compelling site for representing and understanding the past through a case study of one of the most performed plays in recent Canadian repertoire, Vern Theissen's Vimy. Drawing on a survey of audience members and the author's experiences as an academic historian working with a national theatre company, it pro

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31

Davis, Tracy C., and Christopher B. Balme. "A Cultural History of Theatre: A Desideratum." Theatre Survey 57, no. 3 (2016): 459–70. http://dx.doi.org/10.1017/s0040557416000491.

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Theatre is predominantly a social form. Social history, which invites perspectives from “below,” stories of resistance, and awareness of how social organization stratifies, has had a profound effect on theatre studies since the 1970s. A wide scholarly purview on performative forms dates from the later nineteenth century, but social history changed awareness about historical contiguities of categories of community, amateur, and folk performance; tensions and exchanges among court, community, and professional performance constituencies; as well as greater respect for nonliterary traditions and u

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32

Gratch, Ariel. "The angel of living history: Theatricality and representations of the past." Tourist Studies 18, no. 2 (2017): 125–41. http://dx.doi.org/10.1177/1468797617722348.

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Living history performances attempt to create “authentic reproductions,” presentations that aim to present the past in the present as accurately as possible. Such performances have a tendency to present a single interpretation of history as the only interpretation possible. This article analyzes the performance Masada Live by the Asphalt Theatre company as an alternative living history performance. Masada Live uses theatricality to call attention to the constructed nature of the performance, creating a space for a more nuanced and critical understandings of a history.

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33

Robinson, Jo. "Becoming More Provincial? The Global and the Local in Theatre History." New Theatre Quarterly 23, no. 3 (2007): 229–40. http://dx.doi.org/10.1017/s0266464x07000139.

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The issue of globalization has recently been exercising many minds in the field of theatre studies as elsewhere, resulting in various calls for approaches to theatre history that are less nationalistic or eurocentric. Yet of all art forms theatre appears to be, by its nature, the most parochial, tied to the needs of distinct social, ethnic, or other interests within constituencies limited by the economics of touring. Here Jo Robinson places arguments about globalization and theatre in a broader context of the current debate within the social sciences, and argues that exploring the ways in whic

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34

Khabutdinova, Mileusha, and Rezeda Mukhametshina. "Sławomir Mrożek at the Tatar stage: the metamorphoses of Polish stage." Przegląd Wschodnioeuropejski 8, no. 2 (2018): 309–18. http://dx.doi.org/10.31648/pw.3589.

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In this article we analyzed the stage interpretation of Sławomir Mrożek’s play on the scene of Tatar theatre. The performance of “Shashkan babay” (“The mad grandfather”) play was staged on the 10th of February, 2016 by Karim Tinchurin drama and comedy theatre in Kazan. It was the first staging of Sławomir Mrożek’s in Tatar language. In this article we generalize the history of Sławomir Mrożek’s plays production waves in Russia. The specifics of Polish text interpretation by producer Rashid Zagidullin was outlined. We proved that “Shashkan babay” play production continues the best tradition of

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35

Rashidirostami, Mahroo. "Performance Traditions of Kurdistan: Towards a More Comprehensive Theatre History." Iranian Studies 51, no. 2 (2018): 269–87. http://dx.doi.org/10.1080/00210862.2017.1401861.

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36

Vanhaesebrouck, Karel. "Theatre, performance studies and photography: a history of permanent contamination." Visual Studies 24, no. 2 (2009): 97–106. http://dx.doi.org/10.1080/14725860903106104.

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37

Phil KIM. "Korean Theatre of Soviet Central Asia: Its History and Performance." Review of Korean Cultural Studies ll, no. 33 (2010): 315–42. http://dx.doi.org/10.17329/kcbook.2010..33.011.

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38

Steadman, Ian. "Performance and Politics in Process: Practices of Representation in South African Theatre." Theatre Survey 33, no. 2 (1992): 188–210. http://dx.doi.org/10.1017/s0040557400002404.

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In many studies of South African theatre, critical scholarship has elucidated the ways in which playwrights have dramatized their views of oppression and struggle under apartheid. As political change in the country in the 1990s determines new developments in cultural expression, theatre in many quarters finds itself no longer thematically bound to the unambiguous morality which characterized anti-apartheid theatre in the 1970s and 1980s. The issues, and the forms and methods used to construct interpretations of the issues in the theatre, appear increasingly more complex in the 1990s. In academ

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39

Mullaly, Edward. "W(h)ither the Performance?" Theatre Research in Canada 13, no. 1 (1992): 34–45. http://dx.doi.org/10.3138/tric.13.1.34.

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While the difference between a dramatic production and a literary text is obvious in theory, the distinction blurs when we attempt to enfold historical performances into theatre history. For we, lacking personal encounter with a long-past performance's signifiers or its audience reception, are left with no alternative other than to explore that event in terms of its still-extant literary text. This barrier remains to be overcome by those who would canonize any particular theatrical Performance.

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40

Bennett, Susan. "Auto/Biography and Identity: Women, Theatre and Performance (review)." Biography 29, no. 3 (2006): 495–97. http://dx.doi.org/10.1353/bio.2006.0051.

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41

Auslander, Philip. "Music as Performance: Living in the Immaterial World." Theatre Survey 47, no. 2 (2006): 261–69. http://dx.doi.org/10.1017/s004055740600024x.

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As a performance scholar and music lover, I find it strange that the fields of theatre and performance studies historically have been reluctant to engage with musical performance. Even as theatrical a musical form as opera is generally excluded from the history of theatre, on the grounds that “the predominant force in opera was the music rather than the words,” as Vera Mowry Roberts, my theatre history professor, puts the case.1 Roberts points to the nonliterary character of music as the reason for the exclusion; I speculate that the perception of music not only as nonliterary but, more broadl

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42

Van Steen, Gonda Aline Hector. "Greek Theatre Performance: An Introduction, and: (Dis)Placing Classical Greek Theatre (review)." Journal of Modern Greek Studies 20, no. 1 (2002): 165–68. http://dx.doi.org/10.1353/mgs.2002.0015.

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43

FOLAJIMI, PELUMI. "Incorporating the Audience into Performance." Matatu 47, no. 1 (2016): 113–26. http://dx.doi.org/10.1163/18757421-90000398.

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The audience is an essential component of theatre performance. While actors perform on stage, the audience often contribute to the actions and activities of the performance by clapping, singing, and dancing (rhythmically shaking the body) or wooing the performers, as the case may be, or in other ways. Beyond these levels of participation, the audience can be fully incorporated into theatre performances. They can be made to perform, almost like the actors and actresses, in the play. Therefore, using Femi Osofisan’s Once Upon Four Robbers, the study investigates how the audience can be incorpora

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44

Gilula, Leah. "No Sabras in the Fields?" Israel Studies Review 36, no. 1 (2021): 128–43. http://dx.doi.org/10.3167/isr.2021.360109.

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The Cameri Theatre of Tel Aviv has always presented itself as the first repertory theater in the Yishuv that represented the sabras, creating the impression that its actors and artists were themselves mainly sabras and Hebrew their native language. However, this image, based chiefly on the successful performance of the play He Walked through the Fields, does not reflect reality. The article questions the myth by exploring the actual number of sabra theater artists and actors in the troupe, their place and measure of influence. Exposing this image sheds light on The Cameri Theatre at its beginn

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45

Rudnev, P., and E. S. Maksimova. "“Theater lies. And admits it. In the midst of the crisis of media it is a very valuable quality”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (2020): 7–17. http://dx.doi.org/10.18522/2415-8852-2020-1-7-17.

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Pavel Rudnev – theatre scholar, theatre critic, PhD (Art History), Associate professor at the studio school of the Moscow Art Academic Theatre (MHAT) and the State Institute of Theatre Arts (GITIS). Author of the books, “Theatrical Views of Vassily Rozanov” (2003), and “Drama of Memory. Essays on the history of Russian drama from Rozov to the present day” (2018). In this issue of P&amp;I, Pavel Rudnev discusses the boundaries between theatre and performance, searches for the main theme of contemporary Russian drama, and talks about Kudymkar and Lesosibirsk, cities in which theatre is espec

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46

Carlson, Marvin. "Theatre History, Methodology and Distinctive Features." Theatre Research International 20, no. 2 (1995): 90–96. http://dx.doi.org/10.1017/s0307883300008300.

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We are living at a time when we are particularly conscious of historical change and of the impermeability of institutions, political, social, intellectual, and educational. The old disciplinary structures that organized our Western educational system for so long seem to have accelerated from the slow and comfortable evolution which gave rise to, for example, the various social sciences and, indeed, our own discipline of theatre studies into a dizzying whirl of new inter and cross relationships that the stunning proliferation of centres, institutes, and special programmes reflects but by no mea

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47

Berghaus, Günter. "The Futurist Banquet: Nouvelle Cuisine or Performance Art?" New Theatre Quarterly 17, no. 1 (2001): 3–17. http://dx.doi.org/10.1017/s0266464x00014287.

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The Futurist movement was not only an artistic but also a social and political force for innovation, conceived as a total and permanent revolution encompassing all aspects of human life. One such aspect was food. Banquets had been a highly developed performative art in the Italian Renaissance and were again placed in a theatrical framework by the Futurists after the First World War. They founded three night clubs, where food and drinks were served in Futurist fashion, and opened several restaurants dedicated to a renewal of Italian culinary habits. In the 1930s, the Futurists focused on the cr

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Fischer-Lichte, Erika. "Interweaving Cultures in Performance: Different States of Being In-Between." New Theatre Quarterly 25, no. 4 (2009): 391–401. http://dx.doi.org/10.1017/s0266464x09000670.

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In this article Erika Fischer-Lichte argues that, since the beginning of the twentieth century, in different parts of the world, modern theatre was invented by way of interweaving cultures in performance. Different examples from the early twentieth century and the 1990s show how theatre acted as a laboratory for testing and experiencing the potential of cultural diversity. An innovative performance aesthetics enabled the exploration of the emergence, stabilization, and destabilization of cultural identity, merging aesthetics with politics. Erika Fischer-Lichte is Professor of Theatre Studies a

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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism

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Vassiliev, Anatoli. "Studio Theatre, Laboratory Theatre." New Theatre Quarterly 25, no. 4 (2009): 324–32. http://dx.doi.org/10.1017/s0266464x0900061x.

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Anatoli Vassiliev must be ranked with the most prominent of the internationally acclaimed directors of the late twentieth century and the beginning of the twenty-first; and history will surely place him among the great director-researcher-pedagogues of the Russian and world theatre, starting with Stanislavsky and including Meyerhold and Vakhtangov. In this conversation, Vassiliev discusses the unique situation of theatre activity in Russia in the early decades of the twentieth century, where the studio, or laboratory, was integral to the very life of the theatre as a specific, collaborative, a

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