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Zeitschriftenartikel zum Thema „Showgirls – new york – drama“

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Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 29. Juli 2024

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1

Lippit, Akira Mizuta, Noëël Burch, Chon Noriega, Ara Osterweil, Linda Williams, Eric Shaefer und Jeffrey Sconce. „Round Table: Showgirls“. Film Quarterly 56, Nr. 3 (2003): 32–46. http://dx.doi.org/10.1525/fq.2003.56.3.32.

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As recently as December, 2002, the New York Times' Elvis Mitchell referred to the "wreckage"of Showgirls (1995). Yet the Film Quarterly editorial board had just been galvanized by a discussion of the same film. Apparently there exists a number of secret and not-so-secret devotees of the film. Showgirls has, perhaps unexpectedly, served to stimulate scholarly thought around issues of camp, satire, class, gender, the fallen woman, showgirl musicals, trash cinema,sexploitation films, hedonistic criticism, and reading and teaching the film. Noëël Burch, Akira Mizuta Lippit, Chon Noriega, Ara Osterweil, Eric Schaefer, Jeffrey Sconce, and Linda Williams have contributed to this discussion of the film. Perhaps Showgirls can still be rescued from the wreckage?

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2

Power, Timothy. „New Music in New York“. Greek and Roman Musical Studies 8, Nr. 1 (13.03.2020): 200–206. http://dx.doi.org/10.1163/22129758-12341369.

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Abstract The article reviews a production of Euripides’ Herakles mounted by Barnard Columbia Ancient Drama, with an historically informed vocal and aulos score. I discuss aspects of the treatment of music in both the play and the performance, and I assess the production in light of recent approaches to the musical reconstruction of Euripidean tragedy.

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3

Gamache, L. B. „Robert Kastenbaum. Defining Acts: Aging as Drama. New York: Baywood, 1994.“ Canadian Journal on Aging / La Revue canadienne du vieillissement 15, Nr. 3 (1996): 468–70. http://dx.doi.org/10.1017/s0714980800005900.

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RÉSUMÉCe livre se veut un exposé sur l'âge et le vieillissement et sur les relations au sein des générations qui vivent le vieillissement et font face à la mort. L'ensemble semble se présente sous forme de textes de dramaturgic simples accompagnés de commentaires. Le livre comprent un prologue, des commentaires, les textes et un épilogue. Les textes de dramaturgie occupent l'espace principal du livre; toutefois, les autres sections expliquent au lecteur les intentions de l'auteur et soulignent leur utilité en tant qu'instrument éducatif gérontologique ou thanatologique ou exercice psychodramatique. Les textes se concentrent sur des types représentatifs et leurs relations comme personnages plutôt que sur une intrigue. Règle générale, le vieillissement est présenté comme un processus inévitable se produisant chez tous les sujets. Une amélioration des textes pourrait se faire en étoffant leur puissance suggestive et leur caractère humain pour les utiliser sur scène.

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4

Samuel, Michael. „Contemporary British Television Drama, James Chapman (2020)“. Journal of Popular Television 8, Nr. 3 (01.10.2020): 371–73. http://dx.doi.org/10.1386/jptv_00036_5.

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5

Shapiro, H. A. „Attic Comedy and the ‘Comic Angels’ Krater in New York“. Journal of Hellenic Studies 115 (November 1995): 173–75. http://dx.doi.org/10.2307/631658.

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The centerpiece of Oliver Taplin's recent monograph on Greek drama and South Italian vase-painting is an Apulian bell-krater of the early fourth century in a New York private collection (Plate IV). The vase belongs to the genre conventionally known as phlyax vases, though Taplin would reject that label, since it is the thesis of his book that many, if not most, of these vases reflect Athenian Old Comedy and not an indigenous Italic entertainment, the phlyax play.

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6

Da Silva Ferreira, Melissa. „O drama como pesquisa“. ouvirOUver 16, Nr. 2 (31.12.2020): 420–35. http://dx.doi.org/10.14393/ouv-v16n2a2020-54101.

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Neste artigo reflito sobre as possibilidades do drama como fonte de estratégias metodológicas para desenvolver pesquisas com crianças no âmbito das artes cênicas. Por meio da articulação de relatos autobiográficos e análise de experiências, analiso como a participação no projeto “Drama como método de ensino”, conduzido por Beatriz Ângela Cabral nos anos noventa, influencia as minhas práticas no projeto de pós-doutorado “Presenças da Infância na Cena Contemporânea” desenvolvido na Universidade Estadual de Campinas e na City University of New York. Em diálogo com estudiosos do teatro e da sociologia, abordo questões ligadas às especificidades da pesquisa nas artes cênicas e da prática como pesquisa, e aos desafios metodológicos de pesquisar teatro e infância.

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7

Kelly, Eileen P. „The Drama of LeadershipThe Drama of Leadership By PitcherPatricia. New York: Wiley. 1997. 268 pages, hard cover, $27.50“. Academy of Management Perspectives 11, Nr. 2 (Mai 1997): 89–90. http://dx.doi.org/10.5465/ame.1997.9707132134.

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8

Gowland, Gus. „The Works of Arthur Laurents: Politics, Love, and Betrayal, John M. Clum (2014)“. Studies in Musical Theatre 14, Nr. 3 (01.12.2020): 364–67. http://dx.doi.org/10.1386/smt_00049_5.

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Review of: The Works of Arthur Laurents: Politics, Love, and Betrayal, John M. Clum (2014)New York: Cambria Press, 214 pp.,ISBN 978-1-60497-884-1, £66.99Terrence McNally and Fifty Years of American Gay Drama, John M. Clum (2016)New York: Cambria Press, 236 pp.,ISBN 978-1-60497-922-0, £69.99

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9

Lule, Jack. „Murder and Myth: New York Times Coverage of the TWA 847 Hijacking Victim“. Journalism Quarterly 70, Nr. 1 (März 1993): 26–39. http://dx.doi.org/10.1177/107769909307000104.

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In June 1985, Shiite Moslem gunmen commandeered a TWA jetliner from Athens, Greece. The group held more than 150 people hostage and demanded the release of 700 Shiite Moslems jailed or detained by Israel. A passenger, U.S. Navy diver Robert Dean Stethem, was beaten and killed, his body pushed from the plane onto the runway. After 17 days of negotiations, with agreements reached for the release by Israel of hundreds of detainees, the hostages were released. Focusing on language in the New York Times, elite and essential for studies of international news images, a dramatistic analysis explores the newspaper's portrayal of the victim. The study suggests that the news reports of Robert Dean Stethem's killing may serve as a mythic drama of sacrifice. That is, in gripping portrayals of the victim's sacrifice to terrorism, the language of the news reports offers readers the opportunity to participate in a great drama of hope and despair, purpose and pain.

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Thompson, Lisa B. „A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910–1927. By David Krasner. New York: Palgrave Macmillan, 2002; pp. 370. $35 cloth; Stories of Freedom in Black New York. By Shane White. Cambridge, MA: Harvard University Press, 2002; pp. 260. $27.95 cloth.“ Theatre Survey 45, Nr. 1 (Mai 2004): 123–25. http://dx.doi.org/10.1017/s004055740424008x.

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In “Writing the Absent Potential: Drama, Performance, and the Canon of African-American Literature,” Sandra Richards argues that scholars largely ignore the African-American contribution to theatre and performance. She suspects that most critics regard “drama as a disreputable member of the family of literature” (65). Even African Americanists neglect dramatic literature; indeed, the Norton Anthology of African American Literature includes only a scant number of plays. Both David Krasner and Shane White effectively redress this oversight and shift the focus from African-American literature to blacks on stage in their recent monographs about early nineteenth-century and early twentieth-century drama.

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Ruiz Garcia, Raquel. „Sense of place in Zöe Akins's Daddy’s Gone A-Hunting“. Recherches anglaises et nord-américaines 36, Nr. 3 (2003): 71–76. http://dx.doi.org/10.3406/ranam.2003.1706.

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The aim of our paper is to analyse the treatment given by Zöe Akins (1886-1958), an American playwright from Humansville, Missouri, of the urban setting of New York in the second decade of the twentieth century in the play mentioned above. Akins, who follows a common pattern among successful American dramatists in her time, presents in Daddy’s Gone A-Hunting (1923) a plot that is perfectly integrated in New York area. The Fields progression from a low middle class settlement in Harlem to other scenes of the city informs the development of family life towards désintégration. Akins, whose biography links her to New York as a successful distinction presents in Daddy’s Gone A-Hunting (1923) a serious drama in which characters are very much influenced by New York’s cosmopolitanism that turns out to be a divisive element within the play, as Julien Fields pursues at all costs an artistic career. In our presentation we will explore this linkage between characters and setting within the context of Zöe Akins’ production and American Drama in the 1920’s.

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12

Frank, Adam D. „Staging Personhood: Costuming in Early Qing Drama, Guojun Wang (2020)“. East Asian Journal of Popular Culture 8, Nr. 2 (01.09.2022): 317–19. http://dx.doi.org/10.1386/eapc_00083_5.

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13

Bay, Jessica, Alaina Schempp, Daniela Schlütz und R. Colin Tait. „Book Reviews“. Projections 15, Nr. 1 (01.03.2021): 88–105. http://dx.doi.org/10.3167/proj.2021.150106.

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Smith, Anthony N., Storytelling Industries: Narrative Production in the 21st Century. London: Palgrave MacMillan, 2018, 266 pp., $59.99 (eBook), ISBN: 978-3-319-70597-2. Harrod , Mary, and Katarzyna Paszkiewicz, eds., Women Do Genre in Film and Television. New York: Routledge, 2018, 266 pp., $39.16 (paperback), ISBN: 9780367889845.García, Alberto N. ed., Emotions in Contemporary TV Series. New York: Palgrave Macmillan, 2016, 253 pp., $89.00, ISBN: 978-1-137-56885-4.Dunleavy, Trisha. Complex Serial Drama and Multiplatform Television. New York: Routledge, 2019, 202 pp., $46.95, ISBN: 9781138927759.

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14

González Fernández de Sevilla, José Manuel. „Alexander Leggat. Shakespeare's Political Drama. London and New York: Routledge, 1988, 259 pp.“ Revista Alicantina de Estudios Ingleses, Nr. 1 (1988): 211–14. http://dx.doi.org/10.14198/raei.1988.1.16.

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15

Baker-Nauman, Lynn. „Prison Theatre and the Global Crisis of Incarceration, Ashley E. Lucas (2020)“. Drama Therapy Review 8, Nr. 1 (01.04.2022): 143–45. http://dx.doi.org/10.1386/dtr_00099_5.

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Review of: Prison Theatre and the Global Crisis of Incarceration, Ashley E. Lucas (2020)London, New York, Oxford, New Delhi and Sydney: Methuen Drama and Bloomsbury, 320 pp.,ISBN 978-1-47250-841-6, h/bk, $63.00ISBN 978-1-40818-589-6, p/bk, $20.96ISBN 978-1-40818-591-9, e/bk, $18.86

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Venediktova, Tatiana D. „Walt Whitman: Gallerist in New York“. Literature of the Americas, Nr. 14 (2023): 8–29. http://dx.doi.org/10.22455/2541-7894-2023-14-8-29.

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In mid-XIX century mechanical reproduction of images through lithography and photography becomes increasingly available — it allows for visual entrepreneurship on a growing scale. In literary artists this trend causes skepticism but in some (like O.W. Holmes) it also inspires creative interest. That the interaction between commercial and technological practices could be productive of aesthetic insight is proved by Walt Whitman’s poetic experiment. Whitman was fascinated by the art of photography – for a daguerreotype he would sit often, willingly and self-consciously, thus turning a portrait into an auto-portrait. Most of the editions of Leaves of Grass contain the author’s images, while Whitman’s form, the very principles his world-building imagination can be best understood through “photographic logic”. Two versions of the poem My Picture Gallery (the one dating back to mid-1850s and the one published in 1881) are being analyzed as instances of Whitman’s lifelong reflection on how the image, the world and the human subject interact. This relationship is full of submerged drama: technical reproducibility makes the image strikingly lifelike but also contributes to the “derealization” or “virtualization” of the world — tends to empower the subject but also to disable one through “the terrible doubt of appearances”. The visual analogue of the “catalogue” technique, representative of Whitman’s early manner, may be a sequence of snapshots and / or that of imperative pointing gestures: see, watch, imagine! Manicules are often used in Whitman’s early manuscripts: this typographic sign (described as “hand” or “printer’s fist”) is pervasive in newspaper advertising of the poet’s time and of particular interest to him — most probably, because giving a sense of forceful, embodied presence, direct contact with the world and the reader alike. In later editions the gesture gets a different representation — a butterfly rests, distractively, upon the index finger using it as a momentary landing grund. This image — Whitman’s newly chosen visual brand – is expressive of the contemplative attitude, indeterminacy and suggestiveness increasingly of import in his poetics.

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MILLER, D. QUENTIN. „New York and the Literary Imagination: The City in Twentieth Century Fiction and Drama“. F. Scott Fitzgerald Review 7, Nr. 1 (01.01.2009): 177–81. http://dx.doi.org/10.2307/fscotfitzrevi.7.2009.0177.

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18

Cole, Jonathan. „Moment Work: Tectonic Theater Project’s Method of Creating Drama, Moisés Kaufman and Barbara Pitts McAdams (2018)“. Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, Nr. 1 (01.12.2020): 148–50. http://dx.doi.org/10.1386/peet_00033_5.

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Review of: Moment Work: Tectonic Theater Project’s Method of Creating Drama, Moisés Kaufman and Barbara Pitts McAdams (2018) New York: Vintage Books and Random House, 224 pp., ISBN 978-1-10197-178-9, e-book, $12.99 ISBN 978-1-10197-177-2, p/bk, $18.95

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19

Houston, Andrew. „The Actuals of Drama and Dreams“. Canadian Theatre Review 123 (Juni 2005): 57–60. http://dx.doi.org/10.3138/ctr.123.010.

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In the mid-1960s, when Richard Schechner first began working as a theatre practitioner and educator in New York City, he found himself under the spell of “happenings” created by a variety of young artists in unique locations across the city. In particular, he was captivated by the creations of Allan Kaprow; of which he said, “Kaprow’s work, more than any other I know, has the simple quality of “happening” - of something that is. By ever so slight a change or heightening he converts everyday actions into ‘mysteries’” (Performance Theory 65). The concept of Kaprow’s “mysteries” had a profound effect on Schechner’s thinking about the deep structures present in performance, from around the world and throughout time. Schechner recognized that “happenings introduce us to the idea that art is not a way of imitating reality or expressing states of mind. At the heart of what Kaprow calls a mystery is the simple but altogether upsetting idea of art as an event - an ‘actual’” (Performance Theory 36).

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D'Alessandro, Michael. „The Drunkard's Directions: Mapping Urban Space in the Antebellum Temperance Drama“. New England Quarterly 87, Nr. 2 (Juni 2014): 252–91. http://dx.doi.org/10.1162/tneq_a_00369.

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William H. Smith's The Drunkard (premiering in 1844) broke attendance records at Moses Kimball's Boston Museum and P. T. Barnum's American Museum in New York. Portraying the ills of intemperance, the melodrama also foregrounded thrilling scenes of local urbanity to inspire middle-class tourists to navigate convoluted and potentially dangerous city streets.

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Kidder, Bobbi. „Acting for Real: Drama Therapy Process, Technique, and Performance, Renée Emunah (2020)“. Drama Therapy Review 7, Nr. 2 (01.10.2021): 323–26. http://dx.doi.org/10.1386/dtr_00085_5.

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Review of: Acting for Real: Drama Therapy Process, Technique, and Performance, Renée Emunah (2020)2nd ed., New York and Oxon: Routledge, 382 pp.,ISBN 978-1-13884-964-8, h/bk, $120; ISBN 978-1-13884-965-5, p/bk, $35.96; ISBN: 978-1-31572-540-6, e/bk, $35.96

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22

Brown, John Russell. „Representing Sexuality in Shakespeare's Plays“. New Theatre Quarterly 13, Nr. 51 (August 1997): 205–13. http://dx.doi.org/10.1017/s0266464x00011210.

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Sexuality resides in much more than what is spoken or even enacted, and its stage representation will often work best when the minds of the spectators are collaboratively engaged in completing the desired response. John Russell Brown, founding Head of Drama at the University of Birmingham and a former Associate Director of the National Theatre, here explores Shakespeare's arts of sexual obliquity, whether in silence, prevarication, or kindled imagination, and their relationship both with more direct forms of allusion and with an audience's response. John Russell Brown, currently Professor of Theatre at the University of Michigan, is author of numerous books on Shakespeare and modern drama, and editor of many Elizabethan and Jacobean texts – most recently a new edition of Shakespeare for Applause Books, New York.

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23

Kruger, Loren. „BOOK REVIEW: Edited by Biodun Jeyifo.Modern African Drama, Norton Critical Editions. New York: Norton, 2002.“ Research in African Literatures 34, Nr. 3 (September 2003): 171–73. http://dx.doi.org/10.2979/ral.2003.34.3.171.

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24

Dukes, Gerry. „Anna McMullen. Theatre on Trial: Samuel Beckett’s Later Drama. New York and London: Routledge, 1993“. Journal of Beckett Studies 4, Nr. 1 (Januar 1994): 197–200. http://dx.doi.org/10.3366/jobs.1994.4.1.25.

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25

Merzlak, Anthony. „Shakespeare: A Life in Drama. By Stanley Wells. New York: Norton, 1995. Pp. xii + 403.“ Theatre Research International 21, Nr. 3 (1996): 263. http://dx.doi.org/10.1017/s030788330001539x.

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26

Choi, Eunjeong. „Second Language Learning Through Drama: Practical Techniques and ApplicationsJoeWinston (Ed.). New York, NY: Routledge, 2012.“ TESOL Journal 5, Nr. 4 (23.11.2014): 792–95. http://dx.doi.org/10.1002/tesj.170.

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27

Dan, Manolescu. „Book Review: Bhattacharyya, M. (2020). Rabindranath Tagore’s Śāntiniketan Essays: Religion, Spirituality and Philosophy. London & New York: Routledge“. Journal of Practical Studies in Education 2, Nr. 3 (19.04.2021): 12–15. http://dx.doi.org/10.46809/jpse.v2i3.25.

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Rabindranath Tagore (7 May 1861 – 7 August 1941) was the first non-European poet and lyricist who received the most coveted of international awards, the Nobel Prize for Literature in 1913, “because of his profound sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West.” (www.nobelprize.org ) His most notable work highly praised and duly appreciated by The Swedish Academy was Gitanjali: Song Offerings (1912), a collection of poetry, but Tagore is also famous for having written a variety of genres, including drama, essay, novel, novella, short-story, dance-drama, and song. While Tagore is recognized today mostly for his poetry, his short stories also proved to be extremely popular in what is called the Bengali-language version of the genre, and his essays reveal another facet of his personality, and that is his philosophical thought in which he distinguished himself as a language innovator. Rabindranath Tagore’s Śāntiniketan Essays were translated and published by Medha Bhattacharyya in 2020 in a book celebrating Tagore’s “fundamental meditations on life, nature, religion, philosophy, and the world at large.” (Flyer, Bhattacharyya, 2020)

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Urban, Ken. „Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the 'Nineties“. New Theatre Quarterly 20, Nr. 4 (25.10.2004): 354–72. http://dx.doi.org/10.1017/s0266464x04000247.

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The explosion of ‘in-yer-face’ theatre that dominated the British stage in the 'nineties has had both vocal champions and detractors. Here, Ken Urban examines the emergence of this kind of theatre within the cultural context of ‘cool Britannia’ and suggests that the plays of writers such as Mark Ravenhill and Sarah Kane explore the possibilities of cruelty and nihilism as a means of countering cynicism and challenging mainstream morality's interpretation of the world. Ken Urban is a playwright and director, whose plays The Female Terrorist Project and I [hearts] KANT are currently being produced by the Committee Theatre Company in New York City. His play about the first US Secretary of Defense, The Absence of Weather, will premiere in Los Angeles at Moving Arts Theatre Company, which has named it the winner of its national new play award. At the request of the Sarah Kane Estate, Urban directed the New York premiere of her play Cleansed. He teaches Modern Drama and Creative Writing in the English Department at Rutgers University, New Brunswick. An early version of this article was first presented at the ‘In-Yer-Face? British Drama in the 1990s’ conference at the University of the West of England, Bristol, in September 2002.

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Lyon, Janet. „The Wheelchair: A Three-Part Drama“. PMLA/Publications of the Modern Language Association of America 134, Nr. 2 (März 2019): 405–11. http://dx.doi.org/10.1632/pmla.2019.134.2.405.

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In a review for The New York Times, Amor Towles writes that Manhattan Beach “is far less interested in domestic relationships than in those of the workplace.” I would submit that Manhattan Beach is in fact suffused with domestic relations and that many of those relations are structured by disability plots. A few of those plot strands are so clichéd that you can hardly believe their prominence in this contemporary novel. But another cluster of the novel's disability motifs spins a fabric so inventive and rich that you begin to suspect Egan of deploying the other, shopworn plots chiefly to authenticate the novel's mid-century ethos, to evoke a moment when the American public tended to perceive disability as hopeless, or tragic, or repulsive. In what follows I extricate from the novel's broader historical concerns three of these related disability plots. I begin with an account of the disability-as-melodrama plot and then move to an analysis of the plotlines associated with novel's diffuse treatment of disability's generative powers. I close with a reading of the problematic plot that relies on what disability scholars call the “curative imaginary.” My aim here is to illustrate Egan's contrapuntal disability aesthetics.

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Baba, Maria C., Febe F. I. Wanggai und Maksimilianus Doi. „COURAGE IN HARPER LEE’S NOVEL TO KILL A MOCKINGBIRD“. Lantern: Journal of Language and Literature 8, Nr. 2 (01.09.2022): 119–27. http://dx.doi.org/10.37478/lantern.v8i2.3960.

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Creswell, J. (2014). Research design: qualitative, quantitative and mixed methods approaches. Los Angeles: University of Nebraska-Lincoln. Elmes. G. (2012). Research methods in psychology. Canada: Nelson Education. Klarer, M. (2013). An introduction to literary studies. New York: Routledge. Larrson, L. & Woolf, V. (2017). Walking Virginia Woolf’s London: An investigation in literary geography. London: Palgrave Macmillan. Mays, K. J. (2015). The Norton introduction to literature. New York: W. W. Norton & Co. Putman, D. (2010). The psychology of courage: modern research on an ancient virtue. Washington, DC: American Psychological Association. Turco, L. (2020). The book of literary terms: the genres of fiction, drama, nonfiction, literary criticism, and scholarship. Albuquerque: University of New Mexico Press.

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Cseresnyés, Dorottya Mária. „The Magnified Reflection: Art, Sincerity, and Identity in Charlie Kaufman’s Synecdoche, New York“. Folia Humanistica et Socialia 1, Nr. 2 (11.06.2024): 27–38. http://dx.doi.org/10.69705/fhs.2023.1.2.3.

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The American cultural thought of the 1990s appeared to withdraw from the previous postmodern paradigm. New Sincerity and post-postmodernism advocated for a change that, in contrast to the external attitude of irony, was rooted in a sense of sincerity and compassion for the drama of the human condition. The American cinema of the late 1990s was also affected by this trend, best represented by the films of Sofia Coppola, Paul Thomas Anderson, Wes Anderson, and Charlie Kaufman. This essay examines the ways Synecdoche, New York—Kaufman’s 2008 auteur film—explores the duties and challenges of the post-postmodern artist through the character of Caden Cotard. Although the film’s conclusion states that the ideal of the magnum opus and complete cognizability is illusory, only that can lead the artist to the sincerity of human connections—the sole reality of the contemporary simulated world.

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Bentley, Eric, Robert Brustein und Stanley Kauffmann. „The Theatre Critic as Thinker: a Round-Table Discussion“. New Theatre Quarterly 25, Nr. 4 (November 2009): 310–23. http://dx.doi.org/10.1017/s0266464x09000608.

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In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vision of the theatre that he shared with Bentley and Brustein. Collectively, these three critics championed the European modern dramatists, like Pirandello, Brecht, Beckett, and Genet, whose plays were rarely if ever performed on Broadway. They also embraced the early work of performance groups such as Julian Beck and Judith Malina's Living Theater when they were either ignored or deplored by most mainstream reviewers. Above all, they challenged the time-honoured idea that the primary goal of the theatre is to provide the audience with an emotional catharsis achieved by realistically identifying with the dramatic protagonist. By contrast, Bentley, Brustein, and Kauffmann championed a theatre that emphasized poetic stylization, intellectual seriousness, and social engagement. The discussion which follows, held on 27 October 2007 at the Philoctetes Center, New York, examines the legacy of these leading American theatre critics of the past fifty years. Bert Cardullo, who transcribed and edited the discussion, was Stanley Kauffmann's student at the Yale School of Drama and is the author, editor, or translator of many books, among them Theater of the Avant-Garde, 1889–1950, What Is Dramaturgy?, and American Drama/Critics: Writings and Readings.

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Quan, Elyne. „A View from the Border“. Canadian Theatre Review 125 (Januar 2006): 103–5. http://dx.doi.org/10.3138/ctr.125.016.

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In September 2003, I began a two-year MFA program in Dramatic Writing at New York University. Over the course of my time in New York, I made some discoveries about culture and, in particular, the ways in which people express the world around them through drama. I also found myself answering certain questions on both sides of the border, such as “Is there a difference between Canadian culture and American culture?” and “How does Canadian theatre rate with American theatre?” I am pleased to report that the short answers to these questions are, “Yes” and “Very well, thank you.” However, short answers rarely give the full picture …

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Hafner, Camryn. „READY OR NOT: A DRAMA THERAPY STUDENT’S PERSPECTIVE ON WORKING WITH OLDER ADULTS“. Innovation in Aging 7, Supplement_1 (01.12.2023): 150. http://dx.doi.org/10.1093/geroni/igad104.0491.

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Abstract Drama therapy has the potential to positively influence the lives of older adults in many facets, i.e., improving self-perceptions of aging (Dokter & Sajnani, 2023), attention, depressive symptoms, and overall quality of life (Lin et al., 2022). But drama therapists may also inadvertently cause harm, reenacting narratives of infantilization and indignity, or reinforcing the socially prescribed roles available to older adults (Dokter & Sajnani, 2023). Training and education may minimize harm and maximize positive outcomes; however, despite growing numbers of drama therapists and drama therapy interns working with older populations, the training of drama therapists minimally reflects this shift. Currently, a total of 800 internship hours, representing work with at least two distinct populations, are required to graduate from New York University with a Master of Arts in Drama Therapy and to qualify for a provisional license. While older adults may represent one of these populations, no courses in aging are required. One elective course, Drama Therapy and Aging: From Midlife to Elderhood, is offered once every two years. In a two-year program, this course may only become available after a student has begun their fieldwork. In this presenter’s case, the aging elective was taken concurrently with the start of her fieldwork at an assisted living facility working with persons living with dementia on a secured unit. Benefits and limitations of this student’s preparation to provide successful therapeutic experiences for individuals in this environment are considered, as well as the perceived implications for their future career as a drama therapist.

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Frost, Everett C. „Enoch Brater, The Drama in the Text: Beckett’s Late Fiction (New York: Oxford University Press, 1994)“. Journal of Beckett Studies 4, Nr. 2 (Januar 1995): 117–24. http://dx.doi.org/10.3366/jobs.1995.4.2.14.

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McGovern, Kathleen R. „Drama Education and Second Language Learning Edited by JoeWinston and MadonnaStinson. New York, NY: Routledge, 2014.“ TESOL Journal 9, Nr. 1 (21.02.2018): 237–41. http://dx.doi.org/10.1002/tesj.338.

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Murdoch, Alan. „The Drama of Leadership981Patricia Pitcher. The Drama of Leadership. New York: John Wiley & Sons 1997. 268 pp, ISBN: 0‐471‐14843‐1 (hardback)“. Journal of Management Development 17, Nr. 2 (März 1998): 153. http://dx.doi.org/10.1108/jmd.1998.17.2.153.1.

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Paget, Derek. „Making Mischief: Peter Kosminsky, Stephen Frears and British Television Docudrama“. Journal of British Cinema and Television 10, Nr. 1 (Januar 2013): 171–86. http://dx.doi.org/10.3366/jbctv.2013.0128.

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This article compares and contrasts the ways in which two British television drama directors, Stephen Frears and Peter Kosminsky, critique political power in films screened as part of the BFI's 2009 ‘Radical Television Drama’ season. Frears’ The Deal (2003) and Kosminsky's The Government Inspector (2005) are films concerned with New Labour and its politics, and both take a provocative line towards its culture and policies. The Deal examines the party's rise to power in the 1990s, focusing on the relationship and rivalry for the party leadership between Tony Blair and Gordon Brown. The Government Inspector dramatises New Labour's behaviour during the critical historical period following the September 11 attack on New York, focusing in particular on the controversial case of the arms inspector, the late Dr David Kelly. The article analyses the films as docudrama, arguing that the form has raised its cultural profile over the past 20 years. Contemporary reviewing of the two films is used to throw light on wider debates about docudrama, including the notion of ‘blurred boundaries’ between drama and documentary. The analysis of key scenes from the two films contends that there are more similarities than differences in the approaches taken by the two directors. Docudramas like these, the article concludes, have an active role to play in oppositional politics.

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Song, Xintong. „On Death of a Salesman from the Perspective of Cultural Genes Interpretation of "American Dream"“. International Journal of Education and Humanities 9, Nr. 2 (05.07.2023): 149–52. http://dx.doi.org/10.54097/ijeh.v9i2.9887.

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Arthur miller (1915-2005), as the most outstanding master of drama in the United States and known as the "conscience of American drama", accurately depicted the post-war real society in the United States and the changes in social values. In 1949, Miller wrote the Death of a salesman, which became the peak of his drama creation and won the Pulitzer prize and the New York theatre critics circle award. The play tells the story of the United States in the turbulent social background of the 1940s, the protagonist Willy Loman's dream and the collapse of the whole family. By means of the combination of realism and expressionism, the drama reproduces the changes of social values and the sadness of the little people. In previous studies, most scholars focused on the disillusionment of the "American dream" of the minor characters in the drama, and took the deterioration of the "American dream" and the change of values in American society as the starting point. However, it may be difficult to understand Arthur Miller's interpretation of the "American dream" in the play without tracing the root of the "American dream" and exploring the deep cultural genes of the United States. This paper aims to analyse Arthur Miller's contradictory writings on the American dream in Death of a salesman from the perspective of meme.

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Kippola, Karl M. „Women's Contribution to Nineteenth-Century American Theatre“. Theatre Survey 47, Nr. 1 (13.04.2006): 136–38. http://dx.doi.org/10.1017/s0040557406330098.

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Most scholars of American drama and theatre acknowledge that women's contributions to the field, especially those prior to the twentieth century, have been underrepresented. Over the past twenty-five years, scholars have begun to address a number of those glaring omissions. Women in American Theatre (New York: Crown, 1981; rev, and exp,, New York: TCG, 1987), edited by Helen Krich Chinoy and Linda Walsh Jenkins, fired the first resounding salvo, addressing an enormous range of material. Faye Dudden's outstanding Women in the American Theatre: Actresses & Audiences, 1790–1870 (New Haven: Yale University Press, 1994) provided a more focused study and insight into countless previously unknown figures. Amelia Howe Kritzer's Plays by Early American Women, 1775–1850 (Ann Arbor: University of Michigan Press, 1995) brought to the surface many plays and dramatists never before anthologized.

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Moss, Hilary. „All the World’s New York, All New York’s a Stage: Drama, Draft Riots, and Democracy in the Mid-Nineteenth Century“. Journal of Urban History 35, Nr. 7 (22.09.2009): 1067–72. http://dx.doi.org/10.1177/0096144209347095.

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REES JONES, SARAH. „Emotions, speech, and the art of politics in fifteenth-century York: House Books, mystery plays and Richard duke of Gloucester“. Urban History 44, Nr. 4 (22.09.2016): 586–603. http://dx.doi.org/10.1017/s0963926816000687.

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ABSTRACT:The York House Books provide much-cited evidence of Richard III's relationship with the City of York in 1485, yet the nature and purpose of the House Books has never been satisfactorily explored. Through a focus on the records of a single year (1476–77), this article places their development within the context of new forms of civic bureaucracy in England and France in which the recording of emotions and speech had particular rhetorical and political significance in the reign of Edward IV. This expanding culture of civic literacy led not only to the creation of fuller records of civic politics and events (including the surviving texts of the Corpus Christi drama), but also enabled new forms of political activity.

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Sarafin, Wyatt E. „Tavia Nyong’o. Afro-Fabulations: The Queer Drama of Black Life. New York: NYU Press, 2019. 280 pp.“ Critical Inquiry 47, Nr. 3 (01.03.2021): 619. http://dx.doi.org/10.1086/713544.

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Milliken, Roberta. „BOOK REVIEW: Naomi Conn Liebler. THE FEMALE TRAGIC HERO IN ENGLISH RENAISSANCE DRAMA. New York: Palgrave, 2002.“ NWSA Journal 16, Nr. 3 (Oktober 2004): 231–33. http://dx.doi.org/10.2979/nws.2004.16.3.231.

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MILLER, D. QUENTIN. „New York and the Literary Imagination: The City in Twentieth Century Fiction and Drama by Edward Margolies“. F. Scott Fitzgerald Review 7, Nr. 1 (September 2009): 177–81. http://dx.doi.org/10.1111/j.1755-6333.2009.01010.x.

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Bradey, David. „Twentieth-Century European Drama. Edited by Brian Docherty. New York: St. Martin's Press, 1994. Pp. 228. $39.95“. Theatre Research International 20, Nr. 1 (1995): 64–65. http://dx.doi.org/10.1017/s0307883300007173.

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Kobialka, Michael. „Medieval Drama. By Christine Richardson & Jackie Johnston. New York: St. Martin's Press, 1991. Pp. x + 175.“ Theatre Research International 17, Nr. 2 (1992): 156–57. http://dx.doi.org/10.1017/s0307883300016278.

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Senelick, Laurence. „Transposing Drama: Studies in Representation. By Egil Törnqvist. New York: St Martin's Press, 1991. Pp. 216. $35.“ Theatre Research International 17, Nr. 2 (1992): 168. http://dx.doi.org/10.1017/s0307883300016436.

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_, _. „Representation of Diasporic Chinese Wen Masculinities in A Native of Beijing in New York and A Free Life“. Journal of Chinese Overseas 14, Nr. 1 (23.04.2018): 5–21. http://dx.doi.org/10.1163/17932548-12341365.

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Abstract This article mainly draws on Kam Louie’s wen/wu paradigm of Chinese masculinities and R. W. Connell’s concept of hegemonic masculinity to examine the representation of diasporic Chinese wen masculinities in the popular Chinese television drama A Native of Beijing in New York and Ha Jin’s novel A Free Life. The article argues that the two texts suggest there is no monolithic and static diasporic masculinity among contemporary immigrant Chinese wen men in the US; rather, immigrant Chinese wen men are constantly negotiating, forming and performing their diasporic masculinity according to their specific financial conditions, personal aspirations, as well as the economic situations in China.

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Eliasberg, Galina. „The Russian-Jewish New York, the Balfour Declaration and the Revolution in Russia in Leon Kobrin's Play Back to Your People!“ Judaic-Slavic Journal, Nr. 1 (2018): 25–43. http://dx.doi.org/10.31168/2658-3364.2018.1.2.2.

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The article analyzes Kobrin’s play Back to Your People! and the Yiddish press reviews of its performances in New York at Boris Thomashevsky’s Peoples Theater in December 1917 by A. Cahan, I. Vartsman, B. Gorin and others. Critics defined the genre of Kobrin’s play variously as “national drama”, “sentimental melodrama”, “modern sketch” and “tendentious drama” but unanimously noted that it was a direct response to the landmark events of 1917, including the Russian Revolution and the Balfour Declaration. These events triggered nationalist feelings and had a significant impact on Jewish socialists like Kobrin, whose writing and political views were strongly influenced by Russian populism. The play depicted a dramatic clash between two cultural models: an American banker as a “self-made man” and the Russian-Jewish intellectual and Zionist leader. It reflected the issues of inter-generational conflicts, Jewish assimilation and anti-Semitism in America. Kobrin portrayed representatives of conservative and liberal circles in American society and demonstrated different attitudes towards the tragedy experienced by European Jewry during the First World War. The depiction of the younger generation allowed Kobrin to show the American university milieu, the work of the settlement house movement and the educational institutions for the Jewish immigrants. The play touched upon the social, intellectual and political life on the Lower East Side.

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