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Bibliografie tematiche / American Folk and Theatre

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Letteratura scientifica selezionata sul tema "American Folk and Theatre"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 21 febbraio 2023

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Articoli di riviste sul tema "American Folk and Theatre"

1

Blackstone, Sarah. "The Theatre Museum of Repertoire Americana." Theatre Survey 41, no. 1 (May 2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.

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Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Ple

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2

Slavíčková, Petra. "Hurston's "real Negro theatre": participation observation of African American folk." Brno Studies in English 41, no. 2 (2015): 91–107. http://dx.doi.org/10.5817/bse2015-2-6.

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3

Biers, Katherine. "Practices of Enchantment: The Theatre of Zora Neale Hurston." TDR/The Drama Review 59, no. 4 (December 2015): 67–82. http://dx.doi.org/10.1162/dram_a_00497.

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Contemporary critical work in the field of new materialism, whose practitioners take seriously the concept of nonhuman agency, has largely neglected the genres of theatre and performance. African American author and folklorist Zora Neale Hurston’s folk revues of the 1930s offer an opportunity to examine the intersections between contemporary new materialist theory and the stage, revealing that black Atlantic performance practices have long explored concepts of nonhuman agency in the service of a cultural and racial politics.

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4

Senelick, Laurence. "Offenbach, Wagner, Nietzsche: the Polemics of Opera." New Theatre Quarterly 32, no. 1 (January 7, 2016): 3–18. http://dx.doi.org/10.1017/s0266464x15000822.

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By the early 1870s, the term ‘filth’ had become Wagner’s shorthand for Offenbach. He attacked his fellow composer both publicly and privately and sought to establish a polarity between the two, confining Offenbach to the realm of frivolous and materialistic popular folk culture while casting his own work as exemplary of the new German spirit. Laurence Senelick’s close analysis of Wagner’s writings, including his notorious 1869 essay ‘Jewishness in Music’, shows this critique to be fuelled by jealousy, cultural imperialism, and his growing anti-Semitism. Nietzsche is included here as a counterp

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5

Rapetti, Valentina. "Singing back to the Bard: A conversation on Desdemona with Rokia Traoré." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 337–44. http://dx.doi.org/10.1386/jafp_00035_7.

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Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer

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6

Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.

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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion

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7

Scuderi, Antonio. "The Gospel According to Dario Fo." New Theatre Quarterly 28, no. 4 (November 2012): 334–42. http://dx.doi.org/10.1017/s0266464x12000632.

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For over half a century the Italian Nobel playwright and performer Dario Fo (b. 1926) developed a theatre that challenged the authority of hegemonic culture, while promoting the validity and dignity of folk and popular cultures. In his satire of the Catholic Church, Fo presents the paternalistic God the Father as an instrument of suppression, while showing Jesus as being closer to the hearts of the folk. His references to apocryphal gospels – the gospels of early Christianity that were rejected by the Roman Church – play into this schema. In two of his plays, First Miracle of the Christ Child

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8

Mouton Kinyon, Chanté. "Foregrounding (Lost) Rituals in the Irish and Harlem Renaissances: John Millington Synge, Zora Neale Hurston, and the Transatlantic Gesture." Modern Drama 65, no. 4 (December 1, 2022): 499–521. http://dx.doi.org/10.3138/md-65-4-1128.

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In the preface to The Book of American Negro Poetry (1922), James Weldon Johnson argues that “the colored poet in the United States needs to do something like what Synge did for the Irish.” This article considers the theatrical works of Zora Neale Hurston in light of Johnson’s injunction. In their theatres, John Millington Synge and Zora Neale Hurston work to create a breathing archive of Irish and Black American cultures, respectively, using the stage to portray Irish and Black American folk cultures and give spectators the opportunity to see, hear, and experience performative aspects of thos

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9

MARCUS, KENNETH H. "Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players." Journal of the Society for American Music 9, no. 1 (February 2015): 26–60. http://dx.doi.org/10.1017/s1752196314000534.

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AbstractIn an environment of racial tension and conflict in Southern California during the first half of the twentieth century, the Ramona Pageant and the plays by the Padua Hills Mexican Players offered Mexican American performers a vital role in perpetuating cultural memory through music and dance. The Ramona Pageant, which began in Hemet, California in 1923 and is still in operation, remains one of the longest-running pageants, or historical dramas, in U.S. history. Similarly, the Mexican Players were founded during the Great Depression in 1931 in Claremont, California and performed continu

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10

Luo, Jun, and Guijun Li. "A Culturalist Interpretation of the Dark Brothers’ Sound Bitterness in Hughes’s I, Too, Sing America." Studies in Linguistics and Literature 2, no. 1 (February 28, 2018): 27. http://dx.doi.org/10.22158/sll.v2n1p27.

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<em>Langston Hughes is an important poet over the Harlem Renaissance who has contributed to the enhancement of the thematic profundity of his poetry in the association of African-American culture rooted in its literature, music, theater, art, and politics with his poetic production. Inspired by the original newness of his great poems, many foreign and Chinese scholars and critics have not only discussed much about his indispensable role in promoting dark brothers’ folk culture on the basis of their valuable explorations among his works but also made a mention of dark brothers’ lower soci

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Tesi sul tema "American Folk and Theatre"

1

Dacey, Katherine. ""Gershwin Gone Native!": The Influence of Primitivism and Folk Music on "Porgy and Bess"." W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626290.

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2

Kanaridis, Mina, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Investigating a singing voice in diverse genres and styles : a discussion of context and process." THESIS_CAESS_CAR_Kanaridis_M.xml, 2002. http://handle.uws.edu.au:8081/1959.7/241.

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Abstract (sommario):

The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and se

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3

Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.

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4

Kanaridis, Mina. "Investigating a singing voice in diverse genres and styles : a discussion of context and process." Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/241.

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Abstract (sommario):

The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and se

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5

Schoone-Jongen, Terence G. "Tulip time, U. S. A. staging memory, identity and ethnicity in Dutch-American community festivals /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172255860.

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6

Poe, Preston. "American folk." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000590.

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7

Tolley, Rebecca. "Review of American Folk." Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5706.

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8

Carpenter, Lisa. "Folk into Art: John Fahey, Modernism and the American Folk Revival." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639659.

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Abstract (sommario):

John Fahey’s music holds a distinct place in the mid-century folk revival--distinct because he is difficult to fit in with traditional narratives of the revival. John Fahey created a unique musical style through incorporation of traditional American music with classical music forms. His musical “quotations” and renditions of American blues, folk, ragtime, Protestant hymns, and parlor songs did not merely revive traditional music, but gave it new form and newfound respect in order to further artistic exploration. Fahey was a musical modernist, infusing tradition with the new. Fahey’s work can b

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9

Dobler, Robert. "New American Ways of Death: Anxiety, Mourning, and Commemoration in American Culture." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18430.

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Abstract (sommario):

The experiences of grief and mourning in response to loss are fundamentally transformative to the self-identity of the mourner, necessitating an array of ritualized behaviors at the communal and individual levels. These rituals of mourning both create a space in which this transformation may take place and provide the structure that can direct that transformation. My focus is on historical and emerging forms of vernacular commemoration, by which I refer to material forms that are created by, acted upon, or in other ways utilized by a person experiencing grief in the service of regaining a sens

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10

Lopez, Edwin Gerardo Aybar. "American Folk Traditions in Piano Concert Music." Diss., North Dakota State University, 2013. https://hdl.handle.net/10365/27102.

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This paper describes concert music for the piano that is heavily influenced by or entirely based on folk music traditions from the Americas. First, the term folk music and problems arising from its use are explained. The three main groups of people from which most of the folk music of the Americas originated are also briefly described. The main music covered will be by the composers Samuel Barber (United States), Juan Morel Campos (Puerto Rico), Heitor Villa-Lobos (Brazil), and Louis Moreau Gottschalk (United States). Each composer is represented by one or two pieces. Each piece is analyzed in

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Più fonti

Libri sul tema "American Folk and Theatre"

1

Carlisle, Barbara. The crane wife: A folk tale from Japan : a theatre piece for adults and children. New Orleans: Anchorage Press, 1997.

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2

Moloney, Mick. Irish music on the American stage. Cork: Irish Traditional Music Society, University College, Cork, 1993.

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3

Saeed, Fouzia. Women in folk theatre. Islamabad, Pakistan: Lok Virsa, 1991.

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4

Patanaik, Dhirendranath. Folk theatre of Orissa. Bhubaneswar: Orissa Sangeet Natak Akademi,1998., 1998.

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5

Naikar, Basavaraj S. The folk-theatre of north-Karnataka. Dharwad: Prasaranga, Karnatak University, 1996.

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6

Brustein, Robert Sanford. Reimagining American theatre. Chicago: I.R. Dee, 1992.

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7

Reimagining American theatre. New York: Hill and Wang, 1991.

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8

Alvin, King Bruce, ed. Contemporary American theatre. New York: St. Martin's Press, 1991.

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9

King, Bruce, ed. Contemporary American Theatre. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9.

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10

Shank, Theodore. American alternative theatre. New York: St. Martin's Press, 1988.

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Capitoli di libri sul tema "American Folk and Theatre"

1

Preston, Dennis R. "Folk dialectology." In American Dialect Research, 333. Amsterdam: John Benjamins Publishing Company, 1993. http://dx.doi.org/10.1075/z.68.17pre.

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2

Christenson, Allen. "Folk Saints." In Encyclopedia of Latin American Religions, 1–6. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-08956-0_202-1.

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3

Christenson, Allen. "Folk Saints." In Encyclopedia of Latin American Religions, 472–77. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-27078-4_202.

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4

Canning, Charlotte. "Contemporary Feminist Theatre." In American Drama, 178–92. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-24086-9_12.

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5

Wolff, Tamsen. "A Genealogy of American Theatre." In Mendel's Theatre, 169–99. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230621275_6.

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6

King, Bruce. "Introduction." In Contemporary American Theatre, 1–11. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_1.

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7

Champagne, Lenora. "Once Upon a Time in Performance Art." In Contemporary American Theatre, 177–93. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_10.

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8

Gordon, Mel. "Performance Artist/Art Performer: Laurie Anderson." In Contemporary American Theatre, 195–204. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_11.

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9

Shank, Theodore. "Contemporary American Dance Theatre: Clarke, Goode and Mann." In Contemporary American Theatre, 205–26. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_12.

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10

Solomon, Alisa. "From C-R to PR: Feminist Theatre in America." In Contemporary American Theatre, 227–42. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_13.

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Atti di convegni sul tema "American Folk and Theatre"

1

Li, Qiong, and Jiabin Wang. "Notice of Retraction: On Applying "The Service Theatre Theory" into Improvements in Service Quality of Sichuan Folk Custom Tourism." In 2010 International Conference on Internet Technology and Applications (iTAP 2010). IEEE, 2010. http://dx.doi.org/10.1109/itapp.2010.5566320.

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2

Kieu Trung, Son. "The Phenomenon of Writing new Lyrics for Folk Songs to Broadcast on Mass Media in Vietnam." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.5-3.

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Abstract (sommario):

The phenomenon of creating new lyrics for folk songs provides an interesting combination between the two fields of linguistics and ethnomusicology (or performing arts) and is highly applicable for life in Vietnam. This research aims at the meaning of choosing folk melodies to express language and to express an ideological content. Based on the thesis of linguistic anthropology, considering language to be a reflection of the human being, this study considers the choice of the way language is transmitted as part of that reflection. To conduct this study, we will look at the Voice of Vietnam Radi

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3

Bethere, Sanita, and Lasma Licite-Kurbe. "Challenges in human resource management in the culture industry in Latvia." In Research for Rural Development 2020. Latvia University of Life Sciences and Technologies, 2020. http://dx.doi.org/10.22616/rrd.26.2020.027.

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Abstract (sommario):

The culture industry and its human resources have been little researched in Latvia, yet research on the culture industry is important, because the industry makes a significant contribution to economic growth by promoting employment and the development of competitive regions. The culture industry encompasses libraries, folk art, theatre, music, museums, the creative industry and other sub-industries, yet in recent years those working in all the culture subindustries faced various challenges, including: a low remuneration and insufficient monetary and non-monetary bonuses, resulting in lower job

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4

Koch, Renate. "Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl direct

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