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Thematische Bibliographien / American Folk and Theatre / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „American Folk and Theatre“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 21. Februar 2023

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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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11

Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (June 2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.

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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as partic

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12

Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari

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13

Bogatyrev, Pyotr. "Czech Puppet Theatre and Russian Folk Theatre." TDR/The Drama Review 43, no. 3 (September 1999): 97–114. http://dx.doi.org/10.1162/105420499760347351.

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This key historical and theoretical document connecting Czech and Russian puppet and folk theatres is translated into English for the first time. Bogatyrev opened a whole new area of semiotic studies.

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14

FitzPatrick Dean, Joan. "Irish Stage Censorship in the 1950s." Theatre Survey 42, no. 2 (November 2001): 137–64. http://dx.doi.org/10.1017/s0040557401000072.

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At the end of the 1940s, individuals and groups, as well as the government in Ireland, recognized the need for and benefits of arts enterprises. The Inter-Party coalition, which came to power in early 1948 (under John Costello), recognized the importance of tourism as an industry and the potential of theatre to attract foreign visitors to Ireland. In 1949, the Cultural Relations Committee of Ireland, operating under the auspices of the Minister for External Affairs, undertook production of a series of pamphlets designed “to give a broad, vivid, and informed survey of Irish life and culture.”1

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15

Ashton-Sikora, Martha, and Basavaraj S. Naikar. "The Folk Theatre of North Karnataka." Asian Folklore Studies 57, no. 1 (1998): 179. http://dx.doi.org/10.2307/1179018.

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16

Nandakumar, Prema, and Basavaraj S. Naikar. "The Folk Theatre of North Karnataka." World Literature Today 71, no. 2 (1997): 470. http://dx.doi.org/10.2307/40153271.

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17

Sizova, Irina Igorevna. "Influence of Tolstoy’s Works on Folk Theatre." Filologičeskie nauki. Voprosy teorii i praktiki, no. 2 (February 2021): 294–306. http://dx.doi.org/10.30853/phil210044.

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18

Pandey, Anjali. "PUPPETRY-THE TRADITIONAL FOLK THEATRE OF INDIA." International Journal of Research -GRANTHAALAYAH 5, no. 1 (January 31, 2017): 355–61. http://dx.doi.org/10.29121/granthaalayah.v5.i1.2017.1908.

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19

Nekrylova, Anna. "The Leningrad puppet theatre and folk tradition." Contemporary Theatre Review 1, no. 1 (November 1992): 19–24. http://dx.doi.org/10.1080/10486809208568242.

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20

Thiederman, Sondra B., and Clarence Meyer. "American Folk Medicine." Western Folklore 45, no. 3 (July 1986): 239. http://dx.doi.org/10.2307/1499447.

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21

Nakienė, Austė. "Shifts in the Traditional Culture. Folksongs in the 21st Century City." Tautosakos darbai 49 (May 22, 2015): 171–92. http://dx.doi.org/10.51554/td.2015.29011.

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The traditional culture existing in the city experienced considerable changes in the course of the last century. Rather than comprising continuous, gradual development, this change involved several radical cultural shifts, taking place in the 20th century (e. g. in the beginning of the century, in the 1960s, and 1990s). The article compares the urban, social and cultural changes in order to determine periods when the traditional culture experienced the most crucial transformations and when various new phenomena appeared. A clear shift in the urban culture took place in the 1960s in Lithuania,

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22

Chaturvedi, Ravi. "Interdisciplinarity: A Traditional Aspect of Indian Theatre." Theatre Research International 26, no. 2 (June 15, 2001): 164–71. http://dx.doi.org/10.1017/s0307883301000177.

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After a brief examination of the roots of interdisciplinary elements in classical theatre, the practice of this tradition in selected forms of modern folk and tribal theatre is discussed. The featured example is a prominent folk theatre form belonging to Central India, Pandwāni, which was not widely known even two decades ago, but which, today, has come to the forefront of attention. Increasingly it is attracting performers who work in such metropolises as Delhi, Mumbai and Calcutta, and serves to point out the tradition of interdiscplinarity which has long been a major characteristic of India

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23

Fisher, James, Robert Brustein, and Irving Wardle. "Reimagining American Theatre." Theatre Journal 46, no. 3 (October 1994): 437. http://dx.doi.org/10.2307/3208636.

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24

Krasner, David, Lisa M. Anderson, Nadine George-Graves, John Rogers Harris, Barbara Lewis, Henry Miller, and Harvey Young. "African American Theatre." Theatre Survey 47, no. 2 (September 12, 2006): 191–97. http://dx.doi.org/10.1017/s0040557406000159.

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David Krasner: In surveying contemporary London theatre, New York Times critic Ben Brantley reported that the Tricycle Theatre hadinaugurated a season of African-American plays with the commandingly titled but obscure Walk Hard, Talk Loud, a play by Abram Hill from the early1940's. Abram who? The name meant nothing to me, but Abram Hill (1910–1986) was a founder and director of the American Negro Theater in New York (1940–1951) and a playwright, it seems, of considerable verve.3That Abram Hill and the American Negro Theatre—the most important black theatre company during the mid-twentieth cent

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25

Parekh, Pratham, and Mahalaxmi Tiwari. "Folk Theatre as a Mean of Resistance and Social Change: A Sociological Inquiry About Inception and Need for Revitalization of Bhavai." ECS Transactions 107, no. 1 (April 24, 2022): 1933–42. http://dx.doi.org/10.1149/10701.1933ecst.

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Bhavai is a unique folk art theatre of Gujarat that originated in 1360 AD. It is believed to be initiated by ‘outcaste’ nomads. Marginalization made this form of theatre to be more satirized against the stigma imposed by the caste system. Instead of protesting exclusion, this art form provided ground for tenacious, long-lasting, and zestful ways of expressing subjective feelings of the marginalized. The study tries to investigate how folk theatres can become a way of expressing resistance and project desired directions for community development. It also traces periodical changes that occurred

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26

Phukon, Pranab, and Satyakam Borthakur. "‘Third Theatre’: A Media Closer to the Folk." Asian Journal of Research in Social Sciences and Humanities 5, no. 2 (2015): 148. http://dx.doi.org/10.5958/2249-7315.2015.00032.5.

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27

Onyenankeya, Kevin, and Abiodun Salawu. "Folk Theatre: a potent vehicle for rural transformation." Journal of Multicultural Discourses 13, no. 4 (October 2, 2018): 348–61. http://dx.doi.org/10.1080/17447143.2019.1566344.

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28

Vandermeer, Philip, and Kip Lornell. "Introducing American Folk Music." Notes 50, no. 3 (March 1994): 991. http://dx.doi.org/10.2307/898573.

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29

Barber, C. Renate. "African American folk healing." Journal of the Royal Anthropological Institute 15, no. 3 (September 2009): 655–56. http://dx.doi.org/10.1111/j.1467-9655.2009.01577_24.x.

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30

Fusco, Gianna. "Queer as American Folk." Comparative American Studies An International Journal 16, no. 3-4 (July 3, 2019): 154–73. http://dx.doi.org/10.1080/14775700.2019.1664104.

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31

Ware, Frederick. "African American Folk Healing." Pneuma 30, no. 2 (2008): 367–68. http://dx.doi.org/10.1163/157007408x346717.

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32

Villegas, Juan. "Historicizing Latin American Theatre." Theatre Journal 41, no. 4 (December 1989): 505. http://dx.doi.org/10.2307/3208011.

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33

Aziz, Amna, Aniqa Rashid, Aqsa Aslam, Iqra Nazish, and Khadija Majeed. "RE (VIEWING) THREE-DIMENSIONAL WORLD OF PAKISTAN’S FOLK THEATRE ARTIST IN SAEED’S FORGOTTEN FACES: A PSYCHOANALYTICAL CRITIQUE." Humanities & Social Sciences Reviews 9, no. 3 (June 1, 2021): 671–78. http://dx.doi.org/10.18510/hssr.2021.9366.

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Purpose of the study: This study contextualizes within the border of psychoanalytical perspective specifically focusing on Freud's theory of personality and Lacan’s module of the psyche to evaluate an artist’s mental state that how his/her mental state fluctuates. Methodology: Bali Jatti is taken as an exemplary character to project the reality of being an artist. This analysis presents her three-dimensional world, real, theatrical, and psychological, to represent the challenges she faces as she opts to embrace the life of folk theatre. It explores her psychological life and the chaos in

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34

Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.

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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and political) theatre should be an entertaining theatre. The Norwegian theatre company Hålogaland Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political messages with the revue format, and by such attempted to make a contemporaneous red revue ins

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35

Deswal, Neerja. "Indian Folk Theatre : History and Relevance of its Revival." Journal of National Development 31, no. 1 (July 1, 2018): 173–78. http://dx.doi.org/10.29070/31/57450.

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36

Rosa, Marco Camarotti. "Animation, Affirmation, Anarchy: Folk Performance in Brazil." New Theatre Quarterly 14, no. 54 (May 1998): 159–81. http://dx.doi.org/10.1017/s0266464x00011982.

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The folk theatre of North-Eastern Brazil has been given scant critical attention in the past. Even within Brazil itself attention has been largely concentrated in the writings of folklorists, musicologists, and those interested in popular dance. Marco Camarotti Rosa's article is the first attempt to provide comprehensive coverage of the activity as theatre. In describing the four major forms, with some reference to the proliferation of deviations from the norm which are bound to occur when performance is rooted in the oral rather than literary tradition, the article draws attention away from a

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37

HAENNI, SABINE. "‘A Community of Consumers’: Legitimate Hybridity, German American Theatre, and the American Public." Theatre Research International 28, no. 3 (October 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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38

Wilson, James L. "Clementine Hunter: American Folk Artist." Woman's Art Journal 15, no. 1 (1994): 54. http://dx.doi.org/10.2307/1358506.

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39

Zaslavsky, Claudia. "Symmetry In American Folk Art." Arithmetic Teacher 38, no. 1 (September 1990): 6–12. http://dx.doi.org/10.5951/at.38.1.0006.

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Symmetrical designs and repeated patterns are important elements in the arts of many cultures—in fabrics, masks, pottery, and wood carvings, to mention just a few examples (Appleton 1971; Chatley 1986; Harris 1987; Krause 1983; Larsen and Gull 1977; Zaslavsky 1973, 1979, 1981, 1987). Many examples can be found in the textile arts alone. Symmetrical patterns in quilts and rugs, the subject of this article, often have symbolic meaning and play a role similar to writing in conveying ideas. The artist, who is usually anonymous, may introduce variations on the traditional themes or may boldly creat

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40

Watts, Sarah H., and Patricia Shehan Campbell. "American Folk Songs for Children." Journal of Research in Music Education 56, no. 3 (October 2008): 238–54. http://dx.doi.org/10.1177/0022429408327176.

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American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music a

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41

Mullen, Patrick B. "Belief and the American Folk." Journal of American Folklore 113, no. 448 (2000): 119. http://dx.doi.org/10.2307/541285.

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42

Howell, Joyce Bernstein. "Encyclopedia of American Folk Art." Journal of American Culture 27, no. 4 (December 2004): 442–43. http://dx.doi.org/10.1111/j.1542-734x.2004.148_12.x.

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43

Walker, Ethel Pitts. "Incorporating African-American Theatre into the Basic Theatre Course." Theatre Topics 2, no. 2 (1992): 99–104. http://dx.doi.org/10.1353/tt.2010.0062.

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44

Adelt, Ulrich. "Folk City: New York and the American Folk Music Revival." Journal of American History 104, no. 1 (June 2017): 243–44. http://dx.doi.org/10.1093/jahist/jax104.

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45

Aune, Vigdis. "Our Lady’s Folk: Creating authoritative aesthetic communication in documentary theatre." Applied Theatre Research 5, no. 3 (September 1, 2017): 239–53. http://dx.doi.org/10.1386/atr.5.3.239_1.

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46

Kardhares, Dhionysios, and Elias S. Demas. "Dance, Music, and Song in Heptanese Folk Theatre: The ZakynthianHomilia." Dance Chronicle 26, no. 3 (January 10, 2003): 311–31. http://dx.doi.org/10.1081/dnc-120025268.

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47

Riis, Thomas, and Gerald Bordman. "American Musical Theatre: A Chronicle." Notes 50, no. 3 (March 1994): 985. http://dx.doi.org/10.2307/898570.

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48

Clum, John M., Don B. Wilmeth, and Tice Miller. "Cambridge Guide to American Theatre." American Literature 66, no. 2 (June 1994): 412. http://dx.doi.org/10.2307/2928023.

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49

Hornby, Richard. "Crisis in the American Theatre." Hudson Review 51, no. 1 (1998): 171. http://dx.doi.org/10.2307/3853158.

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50

Manna, Anthony L. "Milestones in American Children's Theatre." Children's Literature Association Quarterly 17, no. 4 (1992): 39–41. http://dx.doi.org/10.1353/chq.0.1014.

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