Bibliographies thématiques / Public Theatre (New York, N.Y.)

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Littérature scientifique sur le sujet « Public Theatre (New York, N.Y.) »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Public Theatre (New York, N.Y.)"

HAENNI, SABINE. "‘A Community of Consumers’: Legitimate Hybridity, German American Theatre, and the American Public." Theatre Research International 28, no. 3 (2003): 267–88. http://dx.doi.org/10.1017/s0307883303001135.

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German American theatre in late nineteenth- and early twentieth-century New York City became a model for both a national American theatre and other diasporic theatres in the US. This theatre aspired to an autonomous, class-free, universal culture, which was seen as the legacy of a German Enlightenment tradition epitomized by Schiller's national(izing) theatre. German Americans were thus exceptionally positioned to claim the ideology of a universal culture as a national characteristic. At the same time, however, the theatre was structured by market demands and the need to appeal to a diverse Ge

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Kennedy, Jeffery. "“A New Marionette Theatre”: An Introduction." Eugene O'Neill Review 46, no. 1 (2025): 1–7. https://doi.org/10.5325/eugeoneirevi.46.1.0001.

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ABSTRACT This is a short introduction to the incomplete article “A New Marionette Theatre” found in a folder of two articles labeled “James Light Transcripts” in the Billy Rose Theatre Collection at the New York Public Performing Arts Library. The research points to the probability that marionette artist Remo Bufano likely wrote “A New Marionette Theatre” and that both articles were used to apply for Guggenheim Fellowships in 1928, which both Light and Bufano were awarded in 1929; this is likely why they are found together.

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Rod, David K. "Trial by Jury: An Alternative Form of Theatrical Censorship in New York, 1921–1925." Theatre Survey 26, no. 1 (1985): 47–61. http://dx.doi.org/10.1017/s0040557400000326.

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Between 1921 and 1925, an experimental form of nongovernmental censorship of the theatre was developed and practiced in New York City. Referred to variously as volunteer juries, citizens' juries, or the play-jury system, the experiment attempted to overcome the shortcomings of existing legal controls on the theatre and to relieve public concerns about the exploitation of sexually suggestive and obscene materials in stage plays. Although the play-jury system was short-lived, a review of its brief career reveals significant accomplishments and can provide a clearer picture of some of the issues

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Loney, Glenn. "Talking to Carlos Gimenez, Creator of the Rajatabla in Caracas." New Theatre Quarterly 2, no. 7 (1986): 243–49. http://dx.doi.org/10.1017/s0266464x00002219.

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knowledge of the theatre of South America tends to be shamefully scanty in the English-speaking world: yet the forces of rapid political change, both revolutionary and repressive, often provoke innovative theatrical responses. NTQ intends to pursue the study of theatre in this huge continent. The following interview was conducted by Glenn Loney with the young director Carlos Gimenez – a refugee from Argentina presently working with his Rajatabla troupe in Caracas, Venezuela – whose production of Bolivar was brought to the Public Theatre in New York last summer, with a return visit planned to i

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Yi, Su-Jin, and Hye-Won Jang. "Support System For Creators of the Public Theatre in New York City." Journal of the Korea Entertainment Industry Association 10, no. 4 (2016): 1. http://dx.doi.org/10.21184/jkeia.2016.08.10.4.1.

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Gudkov, Maxim M. "Valentin Katayev’s Comedy The Path of Flowers on the American Stage of the 1930s." Literature of the Americas, no. 18 (2025): 204–37. https://doi.org/10.22455/2541-7894-2025-18-204-237.

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The study focuses on the problem of the stage existence in the USA of Valentin Katayev’s comedy The Path of Flowers (Doroga tzvetov, 1933). It presents documents confirming Katayev’s planned visit to the United States in the 1930s as well as traces the key milestones of his The Path of Flowers’ American stage productions: at the Workers’ Theatre in Chicago (1934), at the New York Experimental Theatre as part of the Federal Theatre Project (1936), and at the University Theatre of Michigan (1937). The second of these American stage adaptations is analysed in more detail. Documentary material i

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Loney, Glenn. "A Theatre of Pre-Depression: Economics and Apathy in New York." New Theatre Quarterly 8, no. 32 (1992): 313–20. http://dx.doi.org/10.1017/s0266464x00007090.

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In an article in NTQ22 (May 1990), Glenn Loney clarified, with special concern for a British readership, the many ‘Factors in the Broadway Equation’. In NTQ 30 (May 1992), he took a closer look at the productions of the 1990–91 season, with its glut of musicals, from the lavish to the just plain lousy, economic ‘single-person shows’ – and the sometimes more challenging products of the off-Broadway and not-for-profit sectors. Here, he continues to trace the long decline of the ‘fabulous invalid’ through the season of 1991–92 – a season overshadowed by the death of Joe Papp, the mourning for a g

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Levenson, Mia. "Epidemic Dramaturgies: Theatre and Public Memory during New York City's 1832 Cholera Outbreak." Theatre Journal 74, no. 4 (2022): 463–84. http://dx.doi.org/10.1353/tj.2022.0093.

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Fearnow, Mark. "Theatre for an Angry God Public Burnings and Hangings in Colonial New York, 1741." TDR (1988-) 40, no. 2 (1996): 15. http://dx.doi.org/10.2307/1146527.

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Carlson, Marvin. "INHERITING THE WIND: A PERSONAL VIEW OF THE CURRENT CRISIS IN THEATRE HIGHER EDUCATION IN NEW YORK." Theatre Survey 52, no. 1 (2011): 117–23. http://dx.doi.org/10.1017/s0040557411000093.

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It is no secret, unhappily, that the study of theatre in the colleges and universities of this country is a discipline under siege, but the severity of the problems received strong confirmation in New York State this fall when two of the most distinguished and long-established (over a century in both cases) programs in the country were, with little warning, faced with draconian cuts or outright extinction. The fact that one, the state University of Albany, was the flagship school of the public system, and the other, Cornell University, was one of the state's most distinguished private institut

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Thèses sur le sujet "Public Theatre (New York, N.Y.)"

Lavi, Tali, and talilavi@netspace net au. "Tales of Ash: Phantom Bodies as Testimony in Artistic Representations of Terrorism." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080428.114445.

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This paper delves into the realms of tragedy, memory and representation. Drawing upon the phenomenon of the Phantom Limb and extending it towards a theory of Phantom Bodies, various artworks - literary, theatrical and visual - are examined. After the conflagration of the terrorist attack, how are these absences grieved over and remembered through artistic representation? The essay examines this question by positioning itself amongst the scarred landscapes of post-September 11 New York and suicide bombings in Israel (2000-2006). Furthermore, it investigates whether humanity can be restored in

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Livres sur le sujet "Public Theatre (New York, N.Y.)"

Audience Research & Analysis (Firm). Mayor's Office of Film, Theatre & Broadcasting: Public awareness study. Mayor's Office of Film, Theatre and Broadcasting, 2007.

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M, Silverman Stephen, and New York Public Library for the Performing Arts. Billy Rose Theater Division., eds. Divas: The fabulous photography of Kenn Duncan : from the Billy Rose Theatre Division of the New York Public Library for the Performing Arts. Universe, 2008.

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Duncan, Kenn. Divas: The fabulous photography of Kenn Duncan : from the Billy Rose Theatre Division of the New York Public Library for the Performing Arts. Universe, 2008.

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Skinner, Peter N. Remarks of Peter N. Skinner, P.E., director [of] scientific staff, Bureau of Environmental Protection, New York State Department of Law, Attorney General's Office, at Nassau County, Bureau of Emergency Services, public officials conference, Mineola, New York, October 28, 1986. Environmental Protection Bureau, New York State Dept. of Law?, 1986.

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N, Plass Gilbert, McNamara George S, and Ivy, Shreve & Mader Philatelic Auctions, eds. The Dr. Gilbert N. Plass collection of United States possessions: Public auction and mail bid sale, first session--Saturday, July 10, 1993 at l:30 p.m. (lots 301-823), second session--Saturday, July 10, 1993 at 6:00 p.m. (lots 824-1316) ... ; sale to be held at The Ivy, Shreve & Mader Auction Galleries, 32 East 57th Street, 11th Floor, New York, New York 10022 ... ; cataloged and sold by Ivy, Shreve & Mader Philatelic Auctions, Inc., Heritage Plaza, 100 Highland Park Village, Dallas, Texas 75205-2788 ... ; auctioneer, Walter J. Mader ; catalog descriptions, George S. McNamara. Ivy, Shreve & Mader Philatelic Auctions, 1993.

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Scher, Paula. Paula Scher : Twenty-Five Years at the Public: A Love Story. Princeton Architectural Press, 2020.

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Paula Scher : Twenty-Five Years at the Public: A Love Story. Princeton Architectural Press, 2020.

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Walker, Edmund. Banking As a Public Service. Address Delivered Before the New York State Bankers' Association at Buffalo, N. Y. , 14th June 1912. Creative Media Partners, LLC, 2015.

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Walker, Edmund. Banking As a Public Service. Address Delivered Before the New York State Bankers' Association at Buffalo, N. Y. , 14th June 1912. Creative Media Partners, LLC, 2018.

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King, Rufus, and Lucy Dubois Akerly. King Family of Southold, Suffolk County, New York, 1595-1901. Compiled from Public Records, Family Papers and the Manuscript King Genealogy of Mr. Rufus King of Yonkers, N. Y. Creative Media Partners, LLC, 2018.

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Chapitres de livres sur le sujet "Public Theatre (New York, N.Y.)"

Vinagre, Margarita, and Reyes Llopis-García. "Multilingual Landscapes in Telecollaboration: A Spanish-American Exchange." In Educational Linguistics. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-39578-9_4.

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AbstractIn this chapter we aim to explore the role that the linguistic landscape (LL) can play in intercultural telecollaborative exchanges. Although research in the field of LL has gained worldwide interest over the last decade and some studies have analyzed its potential for foreign language learning (Cenoz J, Gorter D, Int Rev Appl Linguist Lang Teach 46(3):267–287, 2008; Gorter D, Cenoz J, Knowledge about language and linguistic landscape. In: Hornberger N (ed), Encyclopedia of language and education. Springer Science, Berlin, pp. 1–13, 2007; Dagenais D et al, Linguistic landscape and lang

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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. "1988–1989." In American Theatre. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195123470.003.0020.

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Abstract With only eleven new plays (three of them British), six musicals, and seven specialty items, the Broadway total of twenty-four productions hit a new low. Off Broadway, a total of thirty-five new plays included six foreign works. But revivals both on and off the Street turned New York into a museum of past theatre glories rather than a showcase for new plays. Eight Shakespearean plays were mounted (six as part of the continuing Shakespeare Marathon at the Public Theatre), joined by remountings of Eugene O’Neill, Tennessee Williams, Thornton Wilder, and other native playwrights’ work. S

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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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Shakespeare, Critics Theatre. "14 March 1814, William Hazlitt on Edmund Kean as Hamlet at the Theatre Royal, Drury Lane, London, from the Morning Chronicle, reprinted in Hazlitt on Theatre, ed. William Archer and Robert Lowe (1895; repr. New York, n.d. [1957]), pp. 10-14." In Shakespeare in the Theatre. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711773.003.0012.

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Abstract In the opening paragraphs, omitted here, Hazlitt writes in general terms of Shakespeare and of the play, remarking that, though ‘This character is probably of all others the most difficult to personate on the stage’, ‘Mr Kean’s representation of the character’ which ‘had the most brilliant success’, ‘was a most striking and animated rehearsal [i.e. rendition, performance] of the part.’ Igh as Mr. Kean stood in our opinion before, we have no hesitation in saying that he stands higher in it (and, we think, will in that of the public), from the powers displayed in this last effort.

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Martin, Bradford. "Politics as Art, Art as Politics: The Freedom Singers, the Living Theatre, and Public Performance." In Long Time Gone. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195125146.003.0009.

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Abstract In June 1963, an audience of more than two thousand New Yorkers turned out to see a “Salute to Southern Freedom” benefit concert for the Student Nonviolent Coordinating Committee (SNCC) at Carnegie Hall, featuring the SNCC Freedom Singers and gospel singer Mahalia Jackson. The Freedom Singers was a quartet of young African American vocalists, organized by SNCC for fund-raising purposes, that had debuted in a concert with Pete Seeger the previous November. Robert Shelton’s New York Times review of the concert hinted that the audience displayed an even greater interest in the Freedom Si

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Wolf, Stacy. "Disney Goes to School." In Beyond Broadway. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639525.003.0008.

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This chapter examines the various ways that the Disney Theatrical Group (DTG), a unit within the Walt Disney Company, engages with local musical theatre for elementary and middle school children. DTG’s involvement in the local musical theatre scene includes the creation of kid-friendly versions of shows with supplementary materials and, since 2011, an ambitious philanthropic program to support musical theatre production in underserved public elementary schools. After New York City, DTG established its first Disney Musicals in Schools Program in Nashville, Tennessee. This chapter visits schools

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Block, Geoffrey. "“Not a Few of His Songs Were Left on the Cutting Room Floor”." In The Richard Rodgers Reader. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195139549.003.0009.

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Abstract Stanley Green (1923-1990) was one of the leading Broadway historians of his (and Rodgers’s) generation. His work on Rodgers ranges from the brief Rodgers and Hammerstein Story {New York: Da Capo, 1963) to the monumental, encyclopedic, and indispensable Rodgers and Hammerstein Fact Book: A Record of Their Works Together and with Other Collaborators (New York: The Lynn Farnol Group, 1980). Green was also probably the leading researcher in the preparation of Rodgers’s autobiography, Musical Stages, and appeared with Rodgers in a videotaped program for the Theatre Collection of the Lincol

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Suskin, Steven. "February 29 Squonk." In Broadway Yearbook 1999-2000. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195139556.003.0024.

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Abstract How do you get to Broadway with an unconventional, indecipherable, non-star-driven piece of modernistically esoteric theatre? Assuming you don’t have a rich uncle who owns a theatre chain, or who has a corporation that owns a theatre chain. One way is to mount said esoterica in some off-off-Broadway matchbox and hope that somebody bothers to attend, loves the show, and turns out to be the firststring critic of the Times. This is what is commonly referred to as a long shot; yet it happens once in a very long while along the fabled street of dreams. And thus it was that Squonk journeyed

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Hudson, Berkley. "Oscar West, circa 1930." In O. N. Pruitt's Possum Town. University of North Carolina Press, 2022. http://dx.doi.org/10.5149/northcarolina/9781469662701.003.0006.

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Pruitt photographed Oscar West on a wooden barrel. A young man, West wears a worn jacket. He holds a broom; a tweed cap rests on his knee. He is stoop shouldered. With confidence and comfort, he looks at the camera. This Black man is photographed in a white man’s studio, the same setting, where white people—the powerful as well as struggling white yeoman farm families—are photographed. This happens during the Jim Crow era in a separate-but-unequal town where Blacks were restricted in where and how they could eat, drink from a water fountain, shop, see movies, stay in a hotel, or have access to

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Actes de conférences sur le sujet "Public Theatre (New York, N.Y.)"

Iborra Pallarés, Vicente, and Francisco Zaragoza Saura. "Altea Urban Project: An academic approach to the transformation of a coastal Spanish touristic city based on the improvement of the public space." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5990.

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Vicente Iborra Pallarés¹, Francisco Zaragoza Saura2 ¹Building Sciences and Urbanism Department. University of Alicante. Alicante. Politécnica IV, módulo III, 1ª planta. Carretera de San Vicente del Raspeig s/n. 03690 San Vicente del Raspeig ²Concejalía de Urbanismo, Ayuntamiento de Altea. Plaza José María Planelles, 1. 03590 Altea E-mail: vicente.iborra@ua.es, zaragozasaura@gmail.com Keywords (3-5): Public space, historical urban evolution, tourism phenomena, urbanistic project, educational experience Conference topics and scale: City transformations The town of Altea (Alicante, Spain) has an

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Fulantelli, Giovanni, Lidia Scifo, and Davide Taibi. "THE ECOLOGICAL SYSTEMS THEORY OF HUMAN DEVELOPMENT TO EXPLORE THE STUDENT-SOCIAL MEDIA INTERACTION." In eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-019.

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According to the Bronfenbrenner's ecological systems theory of human development ([1][2][3][4][5]), the development of each individual cannot be observed without considering its relationship with the development of other people and, above all, with the environment in which they live. The ecological orientation of Bronfenbrenner with respect to human development is therefore based on the interest in the progressive adaptation between an active organism that grows and its immediate environment: the individual-environment interaction that is determined by the relationships existing between the di

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