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Bibliographies thématiques / New York Shakespeare Festival Public Theater

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Littérature scientifique sur le sujet « New York Shakespeare Festival Public Theater »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "New York Shakespeare Festival Public Theater"

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Meyer, John M. "“Nor doth this wood lack worlds of company:” the American Performance of Shakespeare and the White-Washing of Political Geography." Multicultural Shakespeare: Translation, Appropriation and Performance 26, no. 41 (2022): 119–46. http://dx.doi.org/10.18778/2083-8530.26.08.

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The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we te

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Emeljanow, Victor. "Pleasure Gardens. Performing Arts Resources, vol. 21. Edited by Stephen M. Vallillo and Maryann Chach. New York: Theatre Library Association, 1998; pp. 105. $30 cloth; Their Championship Seasons: Acquiring, Processing, and Using Performing Arts Archives. Performing Arts Resources, vol. 22. Edited by Kevin Winkler. New York: Theatre Library Association, 2001; pp. 142. $30 cloth." Theatre Survey 45, no. 1 (2004): 133–35. http://dx.doi.org/10.1017/s0040557404290081.

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The annual publication of the Theatre Library Association is designed “to gather and disseminate scholarly articles dealing with the location of resource materials” relating to all media as well as popular entertainments, the evaluation of those resources, and to include as well “monographs of previously unpublished original material.” The volumes are slim ones, so we should not expect coverage of the many theatre collections available to scholars and practitioners, but rather a highly selective series of essays reflecting the priorities of the Association or of the individual volume editors.

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Modenessi, Alfredo Michel. "An Outsider's Inside Notes on the New York Public Theater's Romeo Y Julieta." Shakespeare Bulletin 41, no. 4 (2023): 555–78. http://dx.doi.org/10.1353/shb.2023.a920572.

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Abstract: Early in the COVID-19 lockdown, my 2017 translation of Romeo and Juliet was used by the New York Public Theater for a bilingual podcast called Romeo Y Julieta that made no linguistic or ethnic distinctions between the households. As a stage translator, my work is generally informed by the Mexican praxis of Spanish. However, providing the Spanish text for more diverse audiences made me both a distant and a close agent in projects approaching Shakespeare in unorthodox fashion within swiftly mutable identitarian contexts. Moreover, I was the only agent not working in/from the United Sta

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Young, Sandra. "Reimagining Macbeth in Africa and the Persistence of Primitivism." Shakespeare Bulletin 41, no. 3 (2023): 341–71. http://dx.doi.org/10.1353/shb.2023.a916464.

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Abstract: This essay examines the relationship between “Africa” and “Shakespeare,” two powerful cultural constructs that hold particular ideological traction in contemporary global culture in the aftermath of colonialism. Attempts to “Africanize” Shakespeare may seem well-aligned with the imperative to decolonize knowledge and culture. However, invocations of “Africa” on international stages all too often rely on suggestions of primitivism and reproduce the age-old association of Africa with supposed barbarism or beastliness, inherited from antiquity and absorbed into the cultural myths agains

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Brown, Sara Black. "A Festival of Chariots: How Music and the Arts Take the Hindu Temple Experience to the Streets." Religions 15, no. 12 (2024): 1456. http://dx.doi.org/10.3390/rel15121456.

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Among the most prominent Hindu festivals is the Rath Yatra, or Festival of Chariots, which is celebrated by parading three brightly decorated chariots containing statues of the deities Jagganath, Subhadra, and Balaram through the streets of a city on brilliantly decorated chariots. Rath Yatra is celebrated throughout India and increasingly throughout the world through such efforts as the Festival of India sponsored by the International Society of Krishna Consciousness (ISKCON), which stops in several prominent locations throughout North America. Within Krishna Consciousness, temple worship is

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Bucher, Taina. "About a Bot: Hoax, Fake, Performance Art." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.814.

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Introduction Automated or semi-automated software agents, better known as bots, have become an integral part of social media platforms. Reportedly, bots now generate twenty-four per cent of all posts on Twitter (Orlean “Man”), yet we know very little about who these bots are, what they do, or how to attend to these bots. This article examines one particular prominent exemplar: @Horse_ebooks, a much beloved Twitter bot that turned out not to be a “proper” bot after all. By examining how people responded to the revelations that the @Horse_ebooks account was in fact a human and not an automated s

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Rutherford, Leonie Margaret. "Re-imagining the Literary Brand." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1037.

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IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are d

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Haupt, Adam. "Mix En Meng It Op: Emile YX?'s Alternative Race and Language Politics in South African Hip-Hop." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1202.

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This paper explores South African hip-hop activist Emile YX?'s work to suggest that he presents an alternative take on mainstream US and South African hip-hop. While it is arguable that a great deal of mainstream hip-hop is commercially co-opted, it is clear that a significant amount of US hip-hop (by Angel Haze or Talib Kweli, for example) and hip-hop beyond the US (by Positive Black Soul, Godessa, Black Noise or Prophets of da City, for example) present alternatives to its co-option. Emile YX? pushes for an alternative to mainstream hip-hop's aesthetics and politics. Foregoing what Prophets

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Starrs, D. Bruno. "Enabling the Auteurial Voice in Dance Me to My Song." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.49.

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Despite numerous critics describing him as an auteur (i.e. a film-maker who ‘does’ everything and fulfils every production role [Bordwell and Thompson 37] and/or with a signature “world-view” detectable in his/her work [Caughie 10]), Rolf de Heer appears to have declined primary authorship of Dance Me to My Song (1997), his seventh in an oeuvre of twelve feature films. Indeed, the opening credits do not mention his name at all: it is only with the closing credits that the audience learns de Heer has directed the film. Rather, as the film commences, the viewer is informed by the titles that it

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Thèses sur le sujet "New York Shakespeare Festival Public Theater"

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Widener, Charlene. "The changing face of American theatre colorblind and uni-racial casting at the New York Shakespeare Festival under the direction of Joseph Papp /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4410.

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Thesis (Ph. D.) University of Missouri-Columbia, 2006.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 9, 2007) Vita. Includes bibliographical references.

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Livres sur le sujet "New York Shakespeare Festival Public Theater"

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Illyria (TCG Edition). Theatre Communications Group, Incorporated, 2020.

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Chapitres de livres sur le sujet "New York Shakespeare Festival Public Theater"

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"New York Shakespeare Festival/The Public Theatre Directors 1950s–1990s." In Directing Shakespeare in America. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781474289726.0011.

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Hischak, Thomas S. "1991–1992." In American Theatre. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195123470.003.0023.

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Abstract The death of Joseph Papp on October 31 seemed to cast a shadow over the season, both on and off Broadway. His passing not only raised questions about the future of the Public Theatre and the New York Shakespeare Festival, but it highlighted the precarious position of non-profit theatres. For example, the Negro Ensemble Theatre no longer offered an entire season, just a sole production when it could scrape up the money. Difficulties with the National Endowment for the Arts continued, threatening much-needed funds for many non-profit groups. The economically adventurous Broadway Allianc

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Gooch, Bryan N. S., and David Thatcher. "Troilus and Cressida." In A Shakespeare Music Catalogue. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129431.003.0004.

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Abstract 16432 Amie!, Jon. [—]. MS [1973]. Incidental music. First performed [Arts Theatre, Cambridge], 1973 (Marlowe Society, Cambridge University: Mike Thomas, Troilus; Sandra Billington, Cressida; Andrew Wickes, Pandarus; Richard Cottrell, director). 16433 Amram, David. [—]. MS [1965 (composer)]. Incidental music: [ch orch]. First performed New York Shakespeare Festival, Delacorte Theater, Central Park, 4 August 1965 (Richard Jordan, Troilus; Flora Elkins, Cressida; Frank Schofield, Pandarus; Joseph Papp, director).

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Gooch, Bryan N. S., and David Thatcher. "King Henry V." In A Shakespeare Music Catalogue. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129417.003.0010.

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Abstract 4690 Amram, David. Henry V. MS [1960 (composer)]; New York: C. F. Peters (formerly on hire). Incidental music: [male solo voice]; ch orch (fl [doubling pie], ob [doubling Eng hn], hn, tpt, trbn, perc [2 players], hp [or pl], vcl). First performed New York Shakespeare Festival, Belvedere Lake Theatre, Central Park, 29 June 1960 Games Ray, Henry V; Leonardo Cimino, Chorus; Bill Monell, singer; Joseph Papp, director). [This music was probably also employed for a touring production mounted by the Festival’s Delacorte Mobile Theater, which opened at Mt. Morris Park, Manhattan, 26 June 1965

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Gooch, Bryan N. S., and David Thatcher. "The Two Noble Kinsmen." In A Shakespeare Music Catalogue. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129431.003.0008.

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Abstract 19158 Bateman, David. [—]. MS [1979]. Incidental music. First performed Edinburgh Festival Fringe, New Chaplaincy Centre, 27 August 1979 (Cherub Company: Daniel Foley, Palamon; Anthony Rothe, Arcite; Charles Grant, Emilia; Matthew Sim, Jailer’s Daughter; Andrew Visnevski, director). 19159 Blunt, Joseph in collaboration with Clive Stevens.[ —]. MS [1981). Incidental music. First performed Bouwerie Lane Theater, New York, II October 1981 Gean Cocteau Repertory: David Fuller, Palamon; J. D. Eiche, Arcite; Judy Jones, Emilia; Phyllis Deitschel, Jailer’s Daughter; Eve Adamson, director).

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Gooch, Bryan N. S., and David Thatcher. "King John." In A Shakespeare Music Catalogue. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129417.003.0016.

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Abstract 5568 Amram, David. [—]. MS [1967 (composer)]. Incidental music: [ch orch]. First performed New York Shakespeare Festival, Delacorte Theater, Central Park, 5 July 1967 (Harris Yulin, John; Robert Burr, Philip; Marian Winters, Constance; Joseph Papp, director). 5569 [Anon.].[—]. MS [1952]. Fanfares: [orch]. Pre-recorded (by University Band; Raymond Dvorak, conductor) for use in a production mounted at Wisconsin Union Theatre, University of Wisconsin-Madison, 9 May 1952 (Donald Soule, John; Glen Potter, Philip; Marie Iezzi, Constance; Ronald Mitchell, director). According to the theatre,

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Gooch, Bryan N. S., and David Thatcher. "All’s Well that Ends Well." In A Shakespeare Music Catalogue. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129417.003.0001.

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Abstract II. Adams, James Alan. [—]. MS [I 980 ]. Incidental music: [2 tpt, perc, vln, vcl, pf]. First performed B. Iden Payne Theatre, University of Texas at Austin, 14 November r980 (Sean Henningan, Bertram; Marcia Hardin, Helena; James Coate, Lavatch; Mark Watley and Keith McGuire, tpts; Carlos Torrez, perc; Neela Kinariwala, vln; Mark Holt, vcl; Vickie Bibro, pf; Kathleen Conlin, director). II. Amram, David. [—]. MS [1966 (composer)]. Incidental music: [ch orch]. First performed New York Shakespeare Festival, Delacorte Theater, Central Park, [8] June 1966 (Richard Jordan, Bertram; Barbara

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Plum, Jay. "Attending Walt Whitman High: The Lessons of Pomo Afro Homos’ Dark Fruit." In African American Performance and Theater History. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195127249.003.0013.

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Abstract Pomo Afro Homos (Postmodern African American Homosexuals) was a San Francisco–based performance group founded in November 1990 by Brian Freeman, Djola Bernard Branner, and Eric Gupton. The three performers met as part of the support group Black Gay Men United. Among its twenty some members was the late filmmaker Marlon Riggs, whose 1991 film, Tongues Untied (in which Branner appeared and for which Freeman served as executive producer), inspired the trio to form a company. In January 1991, the Pornos debuted Fierce Love: Stories from Black Gay Life at Josie’s Cabaret and Juice Joint, a

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Suskin, Steven. "October 26 The Full Monty." In Broad Way YearBook. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195148824.003.0006.

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Abstract Since the mid-199os, we have been reading continually about Broadway’s four promising young composers: Adam Guettel, Jason Robert Brown, Michael John LaChiusa, and Ricky Ian Gordon. Audra McDonald-the top new Broadway singer of her generation-made it official, in a way, by devoting her smashing 1998 debut album, Way Back to Paradise, solely to their work. The unquestioned promise of these fellows-all four of them-became so generally accepted that they were constantly hailed, in one breath, as the great hope of the American musical. Brown was the first to reach Broadway. Parade (1998),

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