Livres : « DRAK Theatre »

1

Alliance, Assessment and Qualifications. Drama and theatre studies : Unit DRA2 Approaches to text, unit DRA3 Theatre in practice : Advanced subsidiary subject code [5241]. Leeds : AQA, 2001.

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The changing room : Sex, drag, and theatre. London : Routledge, 2000.

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Drake Bell & Josh Peck. Edina, Minn : ABDO Pub. Co., 2009.

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4

1968-, Bottoms Stephen J., dir. Sex, drag, and male roles : Investigating gender as performance. Ann Arbor, Mich : The University of Michigan Press, 2010.

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5

Torr, Diane. Sex, drag, and male roles : Investigating gender as performance. Ann Arbor : University of Michigan Press, 2010.

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6

Roger, Baker, et Roger Baker. Drag : A history of female impersonation in the performing arts. Washington Square, N.Y : New York University Press, 1994.

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Baker, Roger. Drag : A history of female impersonation in the performing arts. London : Cassell, 1994.

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8

Ullberg, Hans. Riksteater i krig och fred : Några drag ur teaterns utveckling i Sverige 1940-1958. [Norsborg, Sweden] : Entré, 1994.

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9

Akademik Milli Dram Teatrı (Azerbaijan). Azärbaycan Dövlät Akademik Milli Dram Teatrının foto-salnamäsi. Bakı : Letterpress, 2010.

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10

Üç äsrin yüz otuz ili : Akademik Milli Dram Teatrı bu gün. Bakı : Qapp-Poliqraf, 2003.

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11

Raḣimli, Ilḣam. Azärbaycan Dövlät Akademik Milli Dram Teatrı : Teatrın 1873-2012-ci illär arasındakı yaradıcılıq yolunun salnamäsi, 3 cilddä. Bakı : Tähsil, 2013.

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12

Raḣimli, Ilḣam. Azärbaycan teatr antologiyası : Iki cilddä. Bakı : Azärbaycan Respublikası Mädäniyyät vä Turizm Nazirliyi, 2013.

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13

Räḣimli, Ilḣam. Qırx ilin sänät naxışları. Bakı : Aspoliqraf, 2008.

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14

Fair, Alistair. Towards a New Theatre Architecture, 1945–60. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807476.003.0004.

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This chapter considers the evolution of a new image of theatre architecture in the 1940s and 1950s. Beginning with a brief discussion of the international sources on which theatre architects might draw, the chapter continues by examining a selection of built and unbuilt projects from the 1940s and 1950s. It shows how modern architecture was thought to connote the new status of theatre as a subsidized amenity, and to embody the growing confidence of the country’s subsidized repertory companies. Key examples discussed include: the Congress Theatre, Eastbourne; early designs for the National Theatre in London; and the Belgrade Theatre, Coventry.

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Migliarisi, Anna Giovanna. Directing And Authorship In Western Dram. Sous la direction de Anna Migliarisi. Legas Publishing, 2005.

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Yaari, Nurit. The Classical Tradition in University Theatre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0011.

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This chapter surveys the history of classical Greek drama productions at the Department of Theatre Arts of Tel Aviv University as the basis for an exploration of the issue of theatre and art education. By analysing the students’ approach to classical Greek drama, we can see how they deal with the interpretative reading, translation, and performance of such texts on stage. We also see how the ancient works invite the students to delve more deeply into their distinctive content and forms; to draw links between theory and practice, and between text and context; to gain a deeper understanding of the issues of style and styling; and to engage in a richer experimentation with various aspects of stage performance—such as pronunciation, diction, voice, movement, music, and mise-en-scène.

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Wetmore, Kevin J. Jesuit Theater and Drama. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935420.013.55.

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The historic Jesuit theater represents two centuries of didactic theater in which the Society of Jesus, following both the organizational instructions andSpiritual Exercisesof founder Ignatius of Loyola, used theater to inculcate virtue in both performer and audience member while teaching Latin, dance, poise, rhetoric, oratory, and confidence to the students who performed. Jesuit spirituality is inherently theatrical, and conversely Jesuit theater was intended to also be highly spiritual. The dramaturgy and scenography was spectacular and designed to draw audiences who would delight in them and learn the moral lessons the Jesuits hoped to teach while simultaneously drawing them away from a corrupt public theater. This essay considers Jesuit drama and theater in four key aspects: (1) Jesuit spirituality and performative practice; (2) the historic Jesuit educational theater of early modern Europe; (3) Jesuit drama in the missions outside of Europe; and (4) contemporary Jesuits involved in theater.

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Günter, Schmidauer, dir. Ein Leben für die Komödie : Herbert Wochinz und das leichte Lachen von Porcia 1961-2000. Klagenfurt : Carinthia, 2000.

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Baker, Roger. Drag : A History of Female Impersonation in the Performing Arts. New York University Press, 1995.

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Drag : A History of Female Impersonation on Stage (Sexual Politics). 2^e éd. Cassell, 1994.

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Baker, Roger. Drag : A History of Female Impersonation in the Performing Arts. New York University Press, 1995.

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22

Stokes, John. Beyond Sculpture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0006.

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In the 1880s, Wilde responded with enthusiasm to reconstructions of classical Greek theatre staged in Oxford, Cambridge, and London, and his published reviews draw extensively on his own classical training together with ideas taken from Georg Wilhelm Friedrich Hegel, Walter Pater, and John Addington Symonds. He took a similar interest in contemporary plays based on classical subjects, such as Alfred Lord Tennyson’s The Cup and John Todhunter’s Helena in Troas. This chapter describes how Wilde’s experience of Greek theatre and its offshoots in live performance contributed to his fascination with the art of the actor, with theatrical space, with the deployment of scenery, and with the relation of archaeology to architecture. It concludes by tracing an underlying shift in his dramatic theory from ‘plasticity’ to ‘psychology’.

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Shailor, Jonathan. Kings, Warriors, Magicians, and Lovers. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037702.003.0002.

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This chapter illustrates how theater helps imprisoned men explore new modes of self-actualization. Recognizing that “bad masculinity” drives much of the violence in the American prison culture, it argues that imprisoned performers can draw upon Jungian archetypes, Buddhist meditation techniques, and collaborative theater to help craft new selves free from the habitual violence that lingers within typical male roles. The chapter also examines the Theater of Empowerment, a performance-based course emphasizing personal and social development. The perspective offered in the course incorporates both the feminist critique of a sexist, patriarchal model of manhood, and the Jungian vision of a male identity that evolves toward wholeness, embracing both masculine and feminine characteristics.

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Drag : A History of Female Impersonation on Stage (Lesbian and Gay Studies). 2^e éd. Cassell & Company, 1994.

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25

Lyceum, St John Dramatic, dir. Theatre ! : St. John Dramatic Lyceum ... the celebrated domestic dram [sic], in five acts, called Fanchon ! the cricket ... Monday evening, June 10, 1867 .. [Saint John, N.B. ? : s.n., 1987.

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26

Snelson, John M. ‘Ordinary People’ and British Musicals of the Post-War Decade. Sous la direction de Robert Gordon et Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.9.

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British musicals in the decade after the Second World War reflect the broader questioning of national identity by society, shown in a shift from Labour social inclusion to Conservative reassertion of social conformity. Shows by Ivor Novello (Gay’s the Word), George Posford and Eric Maschwitz (Zip Goes a Million), Vivian Ellis and A. P. Herbert (Bless the Bride, The Water Gypsies), Sandy Wilson (The Boy Friend, The Buccaneer), and Julian Slade and Dorothy Reynolds (Salad Days) illustrate the shifting national perspective. They draw on such elements as flagging national spirit during post-war recovery, symbols of history and landscape, and the individual’s relationship to society and convention. The reading of such shows within a wider social context demonstrates a narrative of specifically British musical theatre distinct from an American one.

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Yaari, Nurit. Nissim Aloni. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0008.

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This chapter presents the theatrical works of the Israeli author, translator, playwright, and director Nissim Aloni, who was the first Israeli director to draw upon ancient Greek myths, classical Greek drama, and the Western theatrical tradition to produce contemporary Israel plays and performances. The sense of foreignness and unfamiliarity evoked by Modernist plays magnified his own sense that—as a Jew, an Israeli, and a product of the twentieth century—he was not part of that long tradition. He therefore sought, in his plays, to bridge gaps, to bring together ancient and new myths, and to build the foundations of a modern Israeli theatre. This discussion focuses in particular on Aloni’s adoption of the dramatic template of Sophocles’ Oedipus Tyrannus, and on his attempts to incorporate it into his plots as he sought to create dramatic figures that grapple with their destiny and search for their identity.

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Rosenthal, Laura J. Ways of the World. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501751585.001.0001.

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This book explores cosmopolitanism as it emerged during the Restoration and the role theater played in both memorializing and satirizing its implications and consequences. Rooted in the Stuart ambition to raise the status of England through two crucial investments — global traffic, including the slave trade, and cultural sophistication — this intensified global orientation led to the creation of global mercantile networks and to the rise of an urban British elite who drank Ethiopian coffee out of Asian porcelain at Ottoman-inspired coffeehouses. Restoration drama exposed cosmopolitanism's most embarrassing and troubling aspects, with such writers as Joseph Addison, Aphra Behn, John Dryden, and William Wycherley dramatizing the emotional and ethical dilemmas that imperial and commercial expansion brought to light. Altering standard narratives about Restoration drama, the book shows how the reinvention of theater in this period helped make possible performances that held the actions of the nation up for scrutiny, simultaneously indulging and ridiculing the violence and exploitation being perpetuated. In doing so, it reveals an otherwise elusive consistency between Restoration genres (comedy, tragedy, heroic plays, and tragicomedy), disrupts conventional understandings of the rise and reception of early capitalism, and offers a fresh perspective on theatrical culture in the context of the shifting political realities of seventeenth- and eighteenth-century Britain.

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Richman, Paula, et Rustom Bharucha, dir. Performing the Ramayana Tradition. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552506.001.0001.

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Performing the Ramayana Tradition: Enactments, Interpretations, and Arguments, edited by Ramayana scholar Paula Richman and Rustom Bharucha, scholar of Theater and Performance Studies, examines diverse retellings of the Ramayana narrative as interpreted and embodied through a spectrum of performances. Unlike previous publications, this book is neither a monograph on a single performance tradition nor a general overview of Indian theater. Instead, it provides context-specific analyses of selected case studies that explore contemporary enactments of performance traditions and the narratives from which they draw: Kutiyattam, Nangyarkuttu, and Kathakali from Kerala; Kattaikkuttu and a “mythological” drama from Tamil Nadu; Talamaddale from Karnataka; avant-garde performances from Puducherry and New Delhi; a modern dance-drama from West Bengal; the monastic tradition of Sattriya from Assam; anti-caste plays from North India; and the Ramnagar Ramlila. Apart from the editors’ two introductions, which orient readers to the history of Ramayana narratives by Tulsidas, Valmiki, Kamban, Sankaradeva, and others, as well as the performance vocabulary of their enactments, the volume includes many voices, including those of directors, performers, scholars, connoisseurs, and the scholar-abbot of a monastery. It also contains two full scripts of plays, photographs of productions, interviews, conversations, and a glossary of Indian terms. Each essay in the volume, written by an expert in the field, is linked to several others, clustered around shared themes: the politics of caste and gender, the representation of the anti-hero, contemporary reinterpretations of traditional narratives, and the presence of Ramayana discourse in everyday life.

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Jarenski, Shelly. “Who Are the Other Potters ? What Are Their Names?”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199390205.003.0016.

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This chapter focuses on Theaster Gates’s 2010 exhibition To Speculate Darkly, which puts Gates’s multimedia work in dialogue with Drake. Jarenski’s chapter engages with the theme of erasure in Gates’s aesthetic and examines the ways that Gates imagined himself as Dave “the Slave” Potter, using Dave’s hyperbolic vessels as the staging area for his own artistic performance. Gates’s work with Dave resonates with the work of other artists, like Kara Walker (inspired by the panorama, the silhouette, and sentimental fiction) and Carrie Mae Weems, who has incorporated ethnographic daguerreotypes into her work. In order for us to fully appreciate the still undertheorized experimental breakthroughs of antebellum black artists, slave and free, this chapter claims that we must recognize the continued influence of nineteenth-century forms on contemporary African American art.

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Zang, David W. American Brigadoon. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037610.003.0011.

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This chapter examines the ways in which Penn State University football “fans draw their sense of community from the shared belief that Happy Valley is not only a mythic place, but a singularly righteous one as well.” It puts legendary coach Joe Paterno at the center of the narrative and sees “Happy Valley as a fantastical American Brigadoon” that may vanish after him. The State College, Pennsylvania, area acquired the “Happy Valley” nickname because of its seeming immunity to the economic misery of the Great Depression. Paterno came to State College as an assistant coach in 1950. Four years later, Brigadoon debuted in American movie theaters. It was the tale of an enchanted village that appeared once every hundred years; by covenant, if anyone left, the village would disappear forever. This chapter discusses Paterno's success with Penn State's football team and argues that he has done far more good for the game and for Penn State than he can possibly undo in his fading years.

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Roberts, Robin. Subversive Spirits. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496815569.001.0001.

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The supernatural remains extraordinarily popular in literature, television, and film. But one figure has remained in the shadow, the female ghost. Inherently liminal, often literally invisible, the female ghost has nevertheless appeared in all genres. Subversive Spirits presents a history of the figure in the United States and the United Kingdom from the 1920s to the present, focusing on the female ghost in heritage sites, theatre, Hollywood film, literature, and television in the United States and the United Kingdom. What holds these disparate female ghosts together is their uncanny ability to disrupt, illuminate, and challenge gendered assumptions and roles. As with other supernatural figures, the female ghost changes over time, especially responding to changes in gender roles. Comedic female ghosts in literature and film disrupt gender norms through humor (Topper and Blithe Spirit ). Terrifying and vengeful female ghosts in England and America draw on horror and death to present a challenge to restrictions on mothers (The Woman in Black and La Llorona). The female immigrant experience and the horrors of slavery provide the focus for ghosts who expose history’s silences (The Woman Warrior and Beloved ). Heritage sites use the female ghost as a friendly and inviting but structurally subordinated narrator (The Untold Story and The Ghost of the Castle ). In the twenty-first century, the female ghost expands her influence to become a mother and savior to all humanity (Being Human , U.K. and U.S.) Subversive Spirits brings this figure into the light, exploring her cultural significance in popular culture.

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Fraunhar, Alison. Mulata Nation. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496814432.001.0001.

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Mulata Nation traces the figure of the mulata, the woman of mixed racial heritage in Cuban artwork and performance from the colonial era through the modern to the contemporary. While perhaps most widely linked with sensuality and sexual desirability, the mulata also serves as the embodiment of Cuba’s spirituality, and as emblematic of Cuban identity. Through close readings of representations of the mulata in fine and graphic art, mulata performers and the performance of mulata characters at distinct historical and ideological moments, the book claims that far from being a static, flat figure, images of the mulata have shifted over time and continue to find new expressions. Different expressions of the mulata are linked to specific historical moments. Representations of the mulata on cigarette packaging, marquillas cigarreras, and in the musical theater form zarzuela of the late colonial era, cabaret performance, fine art and popular magazine covers during the Republic, as an icon of Mexican cinema in the first wave of the diaspora of Cuban artists and Cuban cultural forms, and as an icon of the new (wo)man of revolutionary Cuba in Cuban cinema of the 1960s and 70s all figure the mulata as crucial figures in national culture. At present, both the significant diaspora of Cuban artists and others to the US and other countries have been re-inscribing the mulata and mulataje to bear, contest and sometimes reinforce the tropic positions explored in previous chapters. Furthermore, the performance of mulataje on and off the island is no longer limited to women; the performance of mulataje is prominent in highly popular drag shows and film in contemporary Cuba.

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Richardson, John, Claudia Gorbman et Carol Vernallis, dir. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.

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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.

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