Journal articles on the topic 'Group theatre productions'
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1
Patonay, Anita. "The Development of Children’s and Youth Theatre in Hungary: the Path of Institutionalization and Beyond the Professional Sphere (1949–1989/1992)." Theatron 17, no. 4 (2023): 40–52. http://dx.doi.org/10.55502/the.2023.4.40.
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It was after the Second World War and the nationalisations that autonomous theatres for children and youth and theatre performances targeting this age group were first established in Hungary. In my study, I will present the institutional history of children’s and youth theatres in the period 1949–1989/1992 and the children’s and youth theatre-makers who were amateur theatre-makers alongside the institutionalised theatres. I will give an insight into the productions that were produced during this period, the problems faced by the children’s and youth theatre community, and the contradictions that creators had to face during the period of state socialism. I will look at decisions, decrees, and laws on the medium of children’s and youth theatre productions from 1949 to 1989/1992, in order to gain a better understanding of the cultural context in which amateur theatre groups produced performances in the context of children’s and youth theatre culture, alongside the institutionalised children’s and youth theatres.
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Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (April 13, 2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.
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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in focus to indicate how political theatre in the seven years specified has been far from alien to, or sidelined from, national theatres, state theatres, or other prestigious companies in receipt of state subsidy. Two main profiles of recent political theatre emerge from this research, one that acknowledges political history, while the other critiques neoliberal capitalism; there is some unpronounced overlap between the two. Productions of Shakespeare feature significantly in the delineated theatrescape. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book (co-authored) is The Cambridge Introduction to Theatre Directing (2013).
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HEMIŞ, ÖZLEM. "Origins and Developments: A Brief Overview." Theatre Research International 44, no. 3 (October 2019): 296–98. http://dx.doi.org/10.1017/s0307883319000336.
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The origins of westernized theatre in Turkey lie in the Tanzimat reform movement, which was in turn inspired by the impact of the French Revolution. The institutionalization of this late encounter was made possible by the foundation of municipal theatres (1914) and of state theatres (1949). The municipal theatres have been most influential, and have had more flexible characteristics as they have been minutely connected with tradition. The state theatres, on the other hand, have been on a mission to educate audiences through their large-scale productions, which the private-enterprise theatres would not possibly dare to produce. They have also been tightly connected with Western-style theatre in their repertoire, and in their understanding of dramaturgy and directing in their productions. Today it is still debatable whether these enormous institutional theatres function effectively or not. The fact that the municipal and state theatres are consistently offering the cheapest tickets and yet not managing to keep a loyal group of audiences is one of the reasons why nearly two hundred plays at independent theatres debut in Istanbul every year. There have been attempts to overcome problems of quality inherent in the structure of these theatres by other theatre groups in premises where more elaborate productions of plays from the mainstream have been performed.
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Balme, Christopher, and Astrid Carstensen. "Home Fires: Creating a Pacific Theatre in the Diaspora." Theatre Research International 26, no. 1 (March 2001): 35–46. http://dx.doi.org/10.1017/s0307883301000049.
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Theatre created by Pacific Islanders is perhaps the most recent significant development in New Zealand theatre of the 1990s. Exploring this new phenomenon within a concept of diaspora, productions, producers and themes are linked to notions of displacement, home, and disruption on several levels. Three recent plays and productions are examined: Think of a Garden by the Samoan-American John Kneubuhl, which explores memory as the basis of diasporic identity; Home Fires, a collaborative production between Pacific Island and Ma°ori artists in which a new kind of syncretic theatrical style transcending specific cultural codes was developed; and Tatau – Rites of Passage, a performance created by the Christchurch-based group Pacific Underground and the Australian community theatre group Zeal Theatre which explores the notion of ritual reincorporation – involving actual tattooing on stage – as a means of transcending diaspora and repairing the ruptures caused by it.
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Rodiņa, Ieva. "Režisors Eduards Miks. Brīvdabas lieluzvedumu prakse 20. gadsimta 30. gados." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 215–22. http://dx.doi.org/10.37384/aplkp.2023.28.215.
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Director, actor, theater pedagogue Eduards Miks (1893–1943) is a less-studied person in the history of Latvian theater, whose creative work is mainly related to the practice of large-scale open-air large-scale performances in the city of Ogre in the 1930s. The purpose of the article is, firstly, to present the creative biography of Eduards Miks, and, secondly, to analyze his large-scale open-air productions in the context of Latvian 1930s theatre practice. The open-air productions of Eduards Miks can be divided into two groups. Firstly – large-scale productions related to the carnivalization tendency, which begin with a theatrical procession, turning the whole city into a stage and preserving the principle of the theatricalization of life in the organization of the performance as well. The second group – musical productions, in which the actors of Riga theaters are engaged in the title roles, and local art life enthusiasts – in the mass scenes, creating complex mise-en-scenes and impressive mass scenes. Analysis of archival and periodical sources and historical-genetic and semiotic research approach are used. The article states the known facts of Eduard Miks’s life and creative biography, analyzes the most significant open-air productions of the director, as well as compares the directing tendencies of the open-air productions of Eduards Miks to the overall 1930s Latvian theatre practice.
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Howard, Pamela. "Designing the Shrew." New Theatre Quarterly 3, no. 10 (May 1987): 184–87. http://dx.doi.org/10.1017/s0266464x00008678.
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In NTQ7 we included an assessment by Geraldine Cousin of two recent productions of Shakespeare's The Taming of the Shrew – one of them by Di Trevis for the touring group of the Royal Shakespeare Company. The designer for that production was Pamela Howard, who created for it a central traverse playing area adaptable to the many different kinds of venues to be visited. Here, she adds an illustrated postscript on the conception, creation, and utility of the design element, which we hope will initiate the regular documentation of this often-neglected area of theatre practice. In addition to designing for the RSC and numerous other theatres and companies, Pamela Howard has since 1972 taught theatre design at the Central School of Art in London.
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Burns, Hilary. "The Market Theatre of Johannesburg in the New South Africa." New Theatre Quarterly 18, no. 4 (November 2002): 359–74. http://dx.doi.org/10.1017/s0266464x02000477.
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The Market Theatre of Johannesburg opened in 1976, the year of the Soweto Uprising – the beginning of the end for the oppressive apartheid regime. Founded by Barney Simon, Mannie Manim, and a group of white actors, the theatre's policy, in line with the advice to white liberals from the Black Consciousness Movement, was to raise the awareness of its mainly white audiences about the oppression of apartheid and their own social, political, and economic privileges. The theatre went on through the late 'seventies and 'eighties to attract international acclaim for productions developed in collaboration with black artists that reflected the struggle against the incumbent regime, including such classics as The Island, Sizwe Bansi is Dead, and Woza Albert! How has the Market fared with the emergence of the new South Africa in the 'nineties? Has it built on the past? Has it reflected the changes? What is happening at the theatre today? Actress, writer, and director Hilary Burns went to Johannesburg in November 2000 to find out. She worked in various departments of the theatre, attended productions, and interviewed theatre artists and members of the audience. This article will form part of her book, The Cultural Precinct, inspired by this experience to explore how the theatres born in the protest era have responded to the challenges of the new society.
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Hughes, Gwenda. "Clocking on at the Play Factory: Some Thoughts on Running a Regional Theatre." New Theatre Quarterly 27, no. 1 (February 2011): 14–27. http://dx.doi.org/10.1017/s0266464x11000029.
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At a time when funding cuts may mean that many theatres need to struggle for their very existence, it becomes more important than ever that the teams working together in a particular company, or on a particular production, should feel comfortable with each other, and with the director – on whose shoulders may fall many problems and decisions beyond the straightforwardly artistic. Gwenda Hughes has been Artistic Director of Watford Palace Theatre in Education Company, an Associate Director at Birmingham Rep (where she directed some twenty-five productions), and from 1998 until 2006 was Artistic Director of the New Vic Theatre in Staffordshire. She has also worked as a freelance director for M6, Women's Theatre Group, the Young Vic, Oldham Coliseum, Salisbury Playhouse, Theatre Centre, and Lip Service. Drawing on this extensive and varied experience, she here offers some practical guidance on the pitfalls which face the director and/or the artistic director, and how they can be avoided – or if not avoided, overcome – whether in the rehearsal room, on the ‘top floor’ of management, or in dealing with the public, from fussy members of the audience and local councillors making funding decisions, to visiting royals in need of tactful guidance to the lavatory.
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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 inspired by Norwegian Workers’ Theatre (Tramgjengere) in the 1930s. Hålogaland Teater and Tramteatret termed themselves as both ‘popular’ and ‘political’, but what was the reasoning behind their aesthetic choices? In this article I will look closer at Hålogaland Teater’s folk comedy, Det er her æ høre tel (This is where I belong) from 1973, together with Tramteatret’s performance, Deep Sea Thriller, to compare how they utilized ideas of socialist populism, popular culture, and folk in their productions. When looking into the polemics around political aesthetics in the late 1960s and the 1970s, especially lead by the Frankfurter School, there is a distinct criticism of popular culture. How did the theatre group’s definitions of popular culture correspond with the Frankfurter School’s criticism?
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Cărbunariu, Gianina, and Bonnie Marranca. "The Reality of Fiction." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 112–22. http://dx.doi.org/10.1162/pajj_a_00323.
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In the last decade, the playwright and director Gianina Cărbunariu has become one of the prominent young voices in contemporary European theatre. Mihaela, the Tiger of Our Town, which premiered at the Royal Dramatic Theatre in Stockholm, will be performed at the 2016 Avignon festival by Sweden's Jupither Josephsson Company. Other plays include Stop the Tempo, For Sale, Typographic Letters, Solitarity, Metro is Everywhere, and mady-baby.edu (later titled Kebab). The plays have been translated into more than fifteen languages, and they have been performed in Romanian cities and in theatres across Europe, in Berlin, Munich, Paris, Madrid, Brussels, Vienna, Athens, Warsaw, Budapest, Dublin, and elsewhere in Moscow, Istanbul, Santiago de Chile, New York, and Montreal. Cărbunariu has had residencies at the Lark Theatre in New York and London's Royal Court. Her plays and productions have received numerous awards in Romania and in Canada. She is a founding member of the dramAcum independent theatre group in Bucharest. This interview was taped in New York City on December 19, 2015.
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Magelssen, Scott. "Accumulation, Loss, and Deferral: Charles Campbell and Steve Epley's Site-Specific Performance ‘You Are Here’." New Theatre Quarterly 20, no. 2 (April 21, 2004): 180–91. http://dx.doi.org/10.1017/s0266464x04000077.
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This essay is a reflection on the site-specific performance You are Here, created by Charles Campbell and Steve Epley on the roof of the University of Minnesota Tate Lab of Physics in May 2002. Scott Magelssen treats the production within the context of the previous site-specific work of Campbell and Epley, and their Minneapolis-based theatre company Skewed Visions, exploring the project's themes of knowledge-production and memory, the company's unique use of space, and the actor-object mode of performance. Scott Magelssen is Assistant Professor of Theatre Arts at Augustana College, Rock Island, Illinois, where he teaches theatre history and dramaturgy, advises the student-run experimental theatre group, and occasionally directs productions. His current research focuses on the performative and historiographic practices employed by outdoor ‘living history’ museums in Europe and the US.
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Drozdowska, Paulina. "Rok 1918 na teatralnej prowincji. Kielce." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 18 (December 12, 2018): 86–103. http://dx.doi.org/10.24917/20811853.18.7.
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The article describes cultural life in Kielce at the threshold of independence. The local theatre played a prominent role at that time, since it was the only professional scene on which the Regency Council’s manifest was read. After this event the institution had its name changed into the Polish Theatre. The directors in those days were struggling with financial and logistical problems, lack of permanent crew, and even the outbreak of typhus. The history of the theater is described in the context of provincial, poor and clerical town, in which the intelligentsia accounted for a small percentage of the population. The audience wanted some entertainment both from the theatre and the expanding world of the cinema. Therefore, the creators were trying to meet those expectations through productions based on comedy and operetta. The local amateur theatre was the only group involved in politics, staging several patriotic plays. The conclusions of the article are based on the materials published in ”Gazeta Kielecka”, a local newspaper of that time, and collections available in the branch of National Archive in Kielce (unfortunately, no documents have been preserved in Żeromski Theater), as well as the research done by regional historians. Year 1918 turned out to be just a glimpse in the long process of changing the mentality of local community. It was just the first step to rebuild its national identity.
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Schechner, Richard. "Theory and Practice of the Indeterminate Theatre." New Theatre Quarterly 5, no. 20 (November 1989): 348–60. http://dx.doi.org/10.1017/s0266464x00003663.
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Richard Schechner has recently come full circle back to the editorship of The Drama Review, which he earlier transformed from a quietly respected academic journal into the voice of American avant-garde theatre between 1962 and 1969. By this time, he had also joined the Drama faculty of New York University, where he still teaches, and created the Performance Group, for whom his productions included Dionysus in '69, Makbeth. The Tooth of Crime. Oedipus, and The Balcony. His early advocacy of environmental theatre, celebrated in his book of that name in 1973, developed into his present concern with theatre anthropology, the focus of his recent study. Between Theatre and Anthropology, discussed by Eugenio Barba in NTQ10 (1987). In October 1988 Schechner contributed to the Leicester conference ‘Points of Contact: Theatre. Anthropology, and Theatre Anthropology’, and there Nick Kaye discussed with him the relationship between his practical and theoretical work, its evolution, and the influences upon it–also looking in more detail at his most recent production, a performance combining Don Juan and Don Giovanni.
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Jones, Matthew. "Funding a ‘Company of Identity’." New Theatre Quarterly 13, no. 52 (November 1997): 370. http://dx.doi.org/10.1017/s0266464x00011519.
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In one sense Tara belongs to a loose grouping which could be described as ‘companies of identity’, which might include the Black Theatre Co-operative, Sphinx (formerly the Women's Theatre Group), Graeae, and Gay Sweatshop. The classic funding pattern here is that the company is initially founded by individuals with shared educational, cultural and political backgrounds: then, after a number of projects or productions, the group receives funding for a specific proposal, either from a special-interest organization, a trust, or local government.
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Larabee, Anne. "Staging America: Cornerstone and Community-Based Theater. By Sonja Kuftinec. Carbondale: Southern Illinois University Press, 2003; pp. xviii + 255. $45 cloth." Theatre Survey 45, no. 2 (November 2004): 284–86. http://dx.doi.org/10.1017/s0040557404230265.
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Through this case study of the Cornerstone Theater, Staging America sets out to explore the complexities of theatrical practices that aim to transform their audiences and enact social change, especially within the context of national identity. Cornerstone was founded in 1986 by a group of Harvard graduates interested in “bringing theater to the culturally disadvantaged,” but the company soon found itself equally transformed by the communities it served (66). With unusual theoretical depth in its use of cultural studies and ethnography, Staging America chronicles Cornerstone's changes as it attempted to become America's national theatre, traveling across the country to foster grassroots productions of classical plays. It is a fascinating journey that never quite settles on any easy conclusions, for if Cornerstone has ever come close to being a national theatre, it is only with the same unease that any single “America” can ever be staged or even defined. Kuftinec argues that this unease is Cornerstone's strength, as it constantly refigures itself in an anxious dialogue over national identity. Ultimately, she says, Cornerstone reflects America as “a matrix of continuously refigured difference.”
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Orazi, Veronica. "Faust secondo La Fura dels Baus: teatro, opera, cinema." Zeitschrift für Katalanistik 30 (July 1, 2017): 333–55. http://dx.doi.org/10.46586/zfk.2017.333-355.
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Summary: The article focuses on the Catalan theatre group La Fura dels Baus’s works on the myth of Faust. The analysis is based on the drama F@ust versió 3.0 (1998), the free adaptation of Berlioz’s La damnació de Faust (1999), the cyber show Faust Shadow (1999), the movie Fausto 5.0 (2001) and the opera staging of Gounod’s Faust (2014). In its interpretations of the myth, the group recreates it in different artistic dimensions: drama, cyber theatre, lyric opera, cinema. Nevertheless, the study of these productions demonstrates that all of them share some common basic elements: the multifaceted personality of the protagonist, his fragmented perception of himself and reality, a postmodern vision of the Self and life. At the same time, La Fura deepens its investigation on theatre/performance and technology, reaching impressive and groundbreaking results. Keywords: La Fura dels Baus, Catalan contemporary drama, performing arts, cinema, lyric opera, cyber theatre
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RODMAN, TARA. "A More Humane Mikado: Re-envisioning the Nation through Occupation-Era Productions of The Mikado in Japan." Theatre Research International 40, no. 3 (September 9, 2015): 288–302. http://dx.doi.org/10.1017/s030788331500036x.
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The first authorized productions in Japan of Gilbert and Sullivan's The Mikado took place in the early years of the post-war American occupation. A group of Japanese theatre-makers whose international engagement had been circumscribed by the war were involved in these productions – first a 1946 American-led version for occupation personnel, and then an ‘all-Japanese’ version in 1947 and 1948. For these artists, The Mikado, a foreign operetta that was simultaneously ‘about Japan’ and not, offered a way of rebuilding post-war Japanese theatre, and, in doing so, imagining new possibilities for the nation. Through The Mikado they performed a ‘cosmopolitanism at home’, a mode of engagement with the international from within the borders of one's own nation.
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Howard, Tony. "‘A Piece of Our Life’: the Theatre of the Eighth Day." New Theatre Quarterly 2, no. 8 (November 1986): 291–305. http://dx.doi.org/10.1017/s0266464x0000230x.
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Poland's Teatr Osmego Dnia – the Theatre of the Eighth Day – has survived for 22 years, with essentially the same personnel since the early seventies, and with a constant commitment to social engagement. The group – which has never included trained actors, because, according to director Lech Raczak, any graduate of a Polish theatre school, ‘cannot act with his whole self’ – was a major voice of protest for the Polish student generation of 1968. Despite constant harassment and frequent arrests, it continues both to inspire and record the work of young oppositional theatres, although in 1985 it was forced to split when six members toured western Europe whilst four others, denied their passports, played in Polish churches. What follows is a collage of two interviews conducted that autumn – in London with Tadeusz Janiszewski, Adam Borowski, and Leszek Sczaniecki, and in Poznan with Lech Raczak and Marcin Keszycki. They discuss the importance of Grotowski for their generation: their working method, based on group improvisation; the function of poetry in physical theatre; their major productions; and the day-to-day survival strategies of a collective dedicated to exploring the expressive and political potential of the actor. The interviews were assembled by Tony Howard, a playwright who also teaches English in the University of Warwick, and who expresses his thanks to the many people who made this feature possible – especially Nick Gardiner, the ‘European’ group's manager, and the translators. Ewa Elandt and Ewa Kraskowska.
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Epner, Luule, and Anneli Saro. "Constructing Finno-Ugric Identity through Theatre." Nordic Theatre Studies 32, no. 2 (January 22, 2021): 156–73. http://dx.doi.org/10.7146/nts.v32i2.124358.
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The article investigates the construction of transnational Finno-Ugric identity through the theatre festival Mayatul and different performative strategies. This kind of identity construction is investigated through the framework of identity politics and transnationalism. The definition of the Finno-Ugric peoples (Finns, Estonians, Hungarians, Samis, Mordvins, Komi, Udmurts and others) is based foremost on their language kinship. It is believed that similar characteristics of languages and a similar natural environment and climate have shaped the close-to-nature lifestyle and the particular perception of the world shared by the Finno-Ugric peoples.Essential platforms for constructing transnational Finno-Ugric identity are different theatre festivals, among which Mayatul (since 1992) is the most prominent. The majority of productions at the festival are performed in Finno-Ugric languages and interpret the literary texts or folklore of these peoples. However, only a few productions strive for indigenous aesthetics like those of Estonian theatre director Anne Türnpu. The Finno-Ugric peoples’ identity is predominantly a minority identity because mostly they represent a small national and language group in a bigger state like Russia, and only Finland and Hungary have enjoyed one hundred years of independence. Nevertheless, all countries and nations embrace smaller ethnic or cultural minorities, thus minority identity is a universal concept. Theatre festivals are able to unite minority identities into larger transnational identites, even when it is just an imagined community.
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Drury, Rachel C., and Ben Fletcher-Watson. "The infant audience: The impact and implications of child development research on performing arts practice for the very young." Journal of Early Childhood Research 15, no. 3 (January 13, 2016): 292–304. http://dx.doi.org/10.1177/1476718x15614041.
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The advances of scientific techniques such as magnetic resonance imaging and functional magnetic resonance imaging have led to an enormous increase in understanding of the physical, neurological and cognitive developments in infancy. Alongside this, radical new forms of theatre, dance and music have emerged, aimed at this same age group. Many artists now work alongside child psychologists, educators and other infant specialists to design performing arts productions suited to the needs and abilities of the infant audience. This article provides a summary of the development of the five main senses in early infancy in relation to theatre-based productions for babies aged 0–18 months. An exploration into this cross-disciplinary research practice not only demonstrates how performing arts have adapted for the baby audience, but also how they can provide a platform for further research into child development.
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Hagen, Julie K., and Jennifer Thomas. "‘To really trust [...] we had to be open with ourselves and each other’: Community building through Spring Awakening." Studies in Musical Theatre 14, no. 1 (April 1, 2020): 95–111. http://dx.doi.org/10.1386/smt_00021_1.
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The purpose of this ethnographic study was to better understand how participation in St. Lawrence University’s (New York, the United States) production of Spring Awakening served as a means of intimate and broader community building. This narrative ethnography investigated the director and a focus group of actors involved in the production of Spring Awakening. Analyses of the data revealed four themes: content, interconnectedness, emotion and vulnerability and magic. St. Lawrence University students welcomed and embraced the language, the music and the subject matter presented to them in the content of Spring Awakening. The willingness with which the students opened up to conversation and community continued to resonate with them in an interconnectedness that seemingly had more depth and more meaning than other productions they have worked on, including other musical theatre productions.
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Symonds, Dominic. "The corporeality of musical expression: the grain of the voice and the actor-musician." Studies in Musical Theatre 1, no. 2 (August 31, 2007): 167–81. http://dx.doi.org/10.1386/smt.1.2.167_1.
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This article considers the essential engagement of a physical corporeality in making music, a presence that is rewardingly encountered in music theatre, where it is not merely implied but visually, kinaesthetically and corporeally witnessed. Through a detailed discussion of Barthes's The Grain of the Voice and its Kristevan source material, the author understands this physical presence to sit at the very heart of the genotextual potential of performance. The article observes the work of UK music theatre group SharpWire and other actor-musician ensembles, such as those involved in John Doyle's recent productions, and suggests that in the performance of music theatre, the actor-musician re-enacts the emergence into the Symbolic order that is the very essence of human expression.
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Tyszka, Juliusz. "Characters, Connections, Constructing an Action: Forty Years of Theatre of the Eighth Day." New Theatre Quarterly 23, no. 4 (November 2007): 403–26. http://dx.doi.org/10.1017/s0266464x07000322.
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Based in Poznań, Poland, Teatr Ósmego Dnia (Theatre of the Eighth Day) is now recognized not only as one of the most important companies in the history of Polish theatre, but as one of the leading avant-garde ensembles in the world. From its origins in a student theatre group of the late sixties, Theatre of the Eighth Day developed during the early seventies the artistically and socially radical methods of work and of living which have continued to be the hallmark of its work over four decades, but has remained in touch and in tune with the rapid changes in Polish life, first under martial law, and then in the new Poland of the ‘free market’ – towards which the company has sustained an attitude no less critical than to Communist authoritarianism. A number of its productions have accordingly left indelible marks on the sensitivities and even life choices made by two generations of Polish spectators. Juliusz Tyszka is Professor at the Adam Mickiewicz University, Poznań. A contributing editor of NTQ, he has been a close witness of more than thirty years of the work of Theatre of the Eighth Day, and here sets the artistic development of the group in the changing context of Polish life and politics.
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Männiste, Kerttu. "Tension. Expressionist Artistic Style in Stage Design and Original Artworks of the First Half of the 20th Century." Baltic Journal of Art History 21 (August 20, 2021): 107–27. http://dx.doi.org/10.12697/bjah.2021.21.06.
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Despite turning professional in the first decade of the 20th century,the material and practical capabilities of Estonian theatres initiallyremained modest. This hindered the development of stage design– a field dependent on the creative ideas of artists as well as ontechnical resources. The stage designs that used stock scenery, werestylistically uneven and often not suitable for a play’s material,received criticism from viewers-critics who were familiar with themodern developments in European and Russian theatre, especiallyfrom the members of the group Young Estonia.While Estonian artists were already familiar with the avantgardetrends in the European, and specifically German culturallife prior to WWI, in Estonian theatres expressionism appearedin the 1920s, both in terms of ideas, ideals and stylistic methods.Larger theatres were able to refresh their theatrical language withthe expressionist, stylised acting methods and new visual andscenographical solutions. The stage designer for Estonia Theatre’sinnovative productions was Peet Aren, who had already establishedhimself as an expressionist artist by the 1920s. On the stage, he alsorealised his unique artistic style: by luxated perspectives, deformedshapes, excessive colourfulness and playfulness.The ideological plane of expressionism was central in MorningTheatre (Hommikteater), active in Tallinn in 1921–1924. MorningTheatre’s troupe of amateurs under the direction of the visionaryAugust Bachmann brought out three plays which were expressionistin their message and style. Although in theatre history the stagedesigns of Morning Theatre have been associated with Peet Aren,the study of original sketches in the archive of the Estonian Theatreand Music Museum confirms that the author of Morning Theatre’sstage designs was artist Aleksander Möldroo, a representative ofthe more powerful and robust style of expressionism. With MorningTheatre’s laconic, stylised scenography, Estonian stage design madean important developmental leap from commonplace stage designtowards a theatrically conditional and artistic stage décor.
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Sebesta, Judith A. "Just another Puerto Rican with a knife? Racism and reception on the Great White Way." Studies in Musical Theatre 1, no. 2 (August 31, 2007): 183–97. http://dx.doi.org/10.1386/smt.1.2.183_1.
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In the January/February 1998 issue ofHispanicmagazine, Robert Dominguez called the upcoming musicalThe Capemana historic event, predicting that it would precipitate more Latino-themed Broadway productions (Dominguez 1998: 84). His prediction has proven inaccurate. Musicals such asIn the Heightsnotwithstanding, this group has continued to be under-represented or misrepresented on and behind the Broadway stage. This essay explores the roles (or lack of) Latinos have played on and off the Broadway stage and contextualizes their presence/absence within larger issues of reception and race in musical theatre, leading to new hypotheses regarding the failure ofThe Capemanand pointing towards new directions for the future of Latino/a musical theatre.
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Fossum-Kielland, Victoria. "Ingen kan gå fri av mørket." Peripeti 9, no. 17 (January 1, 2012): 58–65. http://dx.doi.org/10.7146/peri.v9i17.108240.
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This article emphasizes the aesthetic and ethical dimensions of fictional violence in two contemporary Scandinavian theatre productions. I discuss and compare the performances Villa Salò by the Danish group SIGNA and The Wild Duck, Part 2 Director’s Cut by the Norwegian performing arts duo Vegard Vinge and Ida Müller, with an emphasis on their use of violence as an aesthetic strategy.
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Pavlovic, Diane, Roger E. Gannon, and Rosalind Gill. "Gilles Maheu: Corps à Corps." Canadian Theatre Review 52 (September 1987): 22–29. http://dx.doi.org/10.3138/ctr.52.005.
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Gille Maheu’s keen sense of space and movement, his deliberately provocative critical stance, the richness of his visual imagination, and the consistency of his interests (aesthetic and thematic), have been highly praised in Quebec and elsewhere. His performances are characterized by a unique sense of rhythm, colour, and élan. Those interested in experimental theatre and the avant-garde quickly recognize that Maheu has the ability to create a total theatre exploiting mime, dance, theatre, performance, cinema, and the plastic arts. Maheu studied in Europe under Etienne Decroux, Yves Lebreton, and Eugenio Barba. Over his 20-year career, he has evolved a corporal language which is at the same time rigid and supple, evocative and meaningful. Founder and artistic director of Carbone 14, a group with an increasingly international reputation, he has staged a number of memorable productions (Pain blanc, L’Homme rouge, he Rail, Le Titanic), working variously as director, scenographer, writer, and actor.
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Cousin, Geraldine. "From Travelling with Footsbarn to ‘Wandertheater’ with Ton und Kirschen." New Theatre Quarterly 14, no. 56 (November 1998): 299–310. http://dx.doi.org/10.1017/s0266464x00012380.
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The first issue of NTQ in February 1985 included a feature on the Footsbarn Travelling Theatre Company which traced the development of the group from its formation in Cornwall in 1971, through its development of a distinctive narrative-based performance style – strong in physicality, visual imagery, and knockabout humour – to its status as an internationally acclaimed company, based now in France but touring extensively in Europe. Geraldine Cousin, the compiler of that feature, provided an update in NTQ33 (February 1993), which focused on Footsbarn's work since 1985, culminating in the ‘Mir Caravan’ project, in which eight theatre groups toured to the Soviet Union and through Eastern and Western Europe. In May 1992, two members of the group, David Johnston and Margarete Biereye, left to establish a new theatre company in Germany – the Wandertheater Ton und Kirschen, now well established, with actors drawn from Germany, France, England, Morocco, Spain, Colombia, Poland, and Australia. Though based in a small German village, Ton und Kirschen has built up its reputation in a number of European countries, and in 1998 was awarded the prize for Performing Arts from the Akademie der Künste, Berlin. Ton und Kirschen is funded partly by the Ministerium für Wissenschaft, and partly by the local district and the town of Potsdam, with a further portion of its income deriving from ticket sales and foreign tours. In December 1997 Margarete and David talked to Geraldine Cousin about their reasons for leaving Footsbarn, and their work with the new company. Geraldine Cousin is Senior Lecturer in Theatre Studies at the University of Warwick, and is author of Churchill the Playwright (Methuen), King John in the ‘Shakespeare in Performance’ series (Manchester University Press), and Women in Dramatic Place and Time (Routledge). She has recently completed a book for Harwood which documents productions by Sphinx Theatre, Scarlet Theatre, and Foursight Theatre.
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Lundberg, Anna. "Beyond the Gaze. Translations as a Norm-Critical Praxis in Theatre for Children and Young." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 94. http://dx.doi.org/10.7146/nts.v28i1.23976.
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This article is based on the project Experimental theatre:. Intersectional encounters between dramatic art, school and academia, financed by the Swedish Research Council. It is an action research project on interactive dramatic art based at ung scen/öst (Östgötateatern), an experimental theatre group for children and young people.. with Malin Axelsson is the group’sas artistic director. Project manager Anna Lundberg has a background in drama studies and gender studies.The troika of dramatic art-school-academia provides an empirical focus, coupled with a closer analysis of the artistic processes between children and adults based on productions by ung scen/öst.What happens with the staging when the method involves open collaboration and shared learning? How is knowledge and meaning negotiated in artistic endeavours The project includes two performances and a publication. The project received financial support from the Swedish Research Council for the period 2012–2013.This article focuses on translation practices at ung scen/öst, the creative processes within the project built by the group as a form, i.e. director, ensemble (actors), researcher and other members of the artistic team exploring ideas and expressions and creating theatre together.
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Henry, Jeff. "Black Theatre in Montreal and Toronto in the Sixties and Seventies: The Struggle for Recognition." Canadian Theatre Review 118 (June 2004): 29–33. http://dx.doi.org/10.3138/ctr.118.003.
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In the sixties, Blacks in Montreal made up a tiny percentage of the population. Apart from the English-speaking West Indians, there was also a group of French (Creole)-speaking Haitians. Interestingly enough, at that period, geography did not matter, but language and culture did, so English- and French-speaking Caribbean migrants had little to do with one another. The migrants performed in community-based theatre. Productions were staged in church and community halls and school auditoriums. The actors, stage managers and costume designers were housewives, civil servants, nurses, teachers, doctors and other professionals. Rehearsals were held on evenings and on weekends and productions were on Friday and Saturday evenings and Sunday afternoons. After the final show, more often than not, a party for cast, crew and volunteers was held.
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Paget, Derek. "Theatre Workshop, Moussinac, and the European Connection." New Theatre Quarterly 11, no. 43 (August 1995): 211–24. http://dx.doi.org/10.1017/s0266464x0000909x.
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This article investigates the influence of a French communist writer on Joan Littlewood's Theatre Workshop. Joan Littlewood celebrated her eightieth birthday in 1994 – a year which also saw an ‘Arena’ programme about her life and the publication of her memoirJoan's Book. Critics and commentators are agreed that Littlewood was a charismatic director, her Theatre Workshop a ground-breaking company which in the late 1950s and early 1960s acquired an international reputation only matched later by the RSC. However, the company's distinctive style drew as much from a European as from a native English theatre tradition, and in this article Derek Paget examines the contribution to that style of a seminal work on design – Léon Moussinac'sThe New Movement in the Theatreof 1931. Although he was also important as a theorist of the emerging cinema, Moussinac's chief influence was as a transmitter of ideas in the theatre, and in the following article Derek Paget argues that his book offered the Manchester-based group insights into European radical left theatre unavailable to them in any other way. Moussinac thus helped Theatre Workshop to become a ‘Trojan horse’ for radical theatricality in the post-war years, while his design ideas were to sustain the Workshop throughout its period of major creativity and influence. Derek Paget worked in the early 1970s on Joan Littlewood's last productions at Stratford East, and he wrote onOh What a Lovely Warin NTQ 23 (1990). He is now Reader in Drama at Worcester College of Higher Education.
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Wilmer, Steve. "Greek Tragedy as a Window on the Dispossessed." New Theatre Quarterly 33, no. 3 (July 10, 2017): 277–87. http://dx.doi.org/10.1017/s0266464x17000318.
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In this article Steve Wilmer discusses adaptations of Greek tragedy that highlight the plight of the displaced and the dispossessed, including Janusz Glowacki's Antigone in New York, Marina Carr's Hecuba, and Elfriede Jelinek's Die Schutzbefohlenen, which is notably emblematic among appropriations of ancient Greek plays in referencing the problems facing refugees in Europe. He considers how this latter play has been directed in a variety of ways in Germany and Austria since 2013, and how in turn it has been reappropriated for new dramatic performances to further investigate the conditions of refugees. Some of these productions have caused political controversy and one of them has even been physically attacked by a right-wing group. Steve Wilmer is Professor Emeritus of Drama at Trinity College Dublin. He is the co-editor of ‘Theatre and Statelessness in Europe’ for Critical Stages (2016), Resisting Biopolitics: Philosophical, Political, and Performative Strategies (Routledge, 2016), and Deleuze and Beckett (Palgrave Macmillan, 2015). He also edited a special issue of Nordic Theatre Studies in 2015 titled ‘Theatre and the Nomadic Subject’.
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Feldman, Peter. "Jerzy Grotowski 1933-1999." Canadian Theatre Review 99 (June 1999): 85–88. http://dx.doi.org/10.3138/ctr.99.012.
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Jerzy Grotowski died on 14 January 1999. His influence, better to say his impact, upon experimental theatre practitioners is inestimable. When he first became known in the mid-1960s it was as the director of the Polish Theatre Laboratory, which already had gone through a few developmental phases (as had he). Those were the days when exceptional young directors were taken up as gurus, and Grotowski rose to the occasion, although he was careful to say, “I am not a one-man band.” He was more than a guru; his reception – outside Poland, anyhow – was messianic. His company, which I once described as seeming like a chamber music group in rippling Polish, had by then already achieved an astounding vocal and physical expressiveness. In their productions they stunned us with their originality, their intensity, their commitment, their austerity, the thoroughness of the actors’ work, the degree to which they seemed to have (at last!) found a technique to embody the Artaudian theatre some of us dreamed of realizing.
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Molière and Harry Lane. "Don Carlos, by Friedrich Schiller; The Misanthrope." Canadian Theatre Review 97 (December 1998): 89–91. http://dx.doi.org/10.3138/ctr.97.016.
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The arrival in 1998 of Toronto’s new theatre company Soulpepper was cause for rejoicing if only because of its wonderfully clear, articulate and passionately committed production of Schiller’s Don Carlos. As many reviewers noted, the company made Schiller’s 200-year-old drama feel like a very contemporary play. This contemporary feeling evidently owed much to Robert David MacDonald’s remarkably lucid translation, made in 1995 for the Glasgow Citizens Theatre, but also apparently resulted from rehearsal processes in which clarity of thinking and articulation of ideas were paramount. Don Carlos was staged in the round at the Du Maurier Theatre at Harbourfront Centre, in repertory with Molière’s The Misanthrope, for six weeks in July and August. Both were directed by Robin Phillips, who reportedly worked fifteen-hour days (perhaps nothing new for Robin Phillips) in order to direct both productions while also running the company’s nine-week workshop for young actors. While Soulpepper’s Misanthrope was considerably less ambitious and less distinguished, largely because of a translation that fitted poorly with the production, it signalled the company’s potential for important future work in comedy. Above all, Soulpepper’s inaugural success more than justified the attempt by a group of actors, led by Diana Leblanc, Diego Matamoros, Nancy Palk and Albert Schultz, to hire a guest director, designers, actors and technicians to present a season of “classics” in downtown Toronto, within two hours’ drive of the Shaw and Stratford Festivals. The company raised two-thirds of its $550,000 budget from public and private donations, many of them from the theatre community, and the rest from box-office revenues and finished the season far enough into the black to guarantee its continued activity in 1999–2000.
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Kershaw, Baz. "The Theatrical Biosphere and Ecologies of Performance." New Theatre Quarterly 16, no. 2 (May 2000): 122–30. http://dx.doi.org/10.1017/s0266464x00013634.
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In what would a postmodern theatrum mundi, or ‘theatre of the world’, consist? In an ironic inversion of the very concept, with the microcosm issuing a unilateral declaration of independence – or of incorporation? Or in a neo-neoplatonic recognition that it is but a cultural construct of an outer world that is itself culturally constructed? In the following article, Baz Kershaw makes connections between the high-imperial Victorian love of glasshouses, which at once created and constrained their ‘theatre of nature’, and the massive 'nineties ecological experiment of ‘Biosphere II’ – ‘a gigantic glass ark the size of an aircraft hangar situated in the Southern Arizona desert’, which embraces all the main types of terrain in the global eco-system. In the Biosphere's ambiguous position between deeply serious scientific experiment and commodified theme park, Kershaw sees an hermetically-sealed system analogous to much contemporary theatre – whose intrinsic opacity is often further blurred by a theorizing no less reductive than that of the obsessive Victorian taxonomists. He offers not answers, but ‘meditations’ on the problem of creating an ecologically meaningful theatre. Baz Kershaw, currently Professor of Drama at the University of Bristol, originally trained and worked as a design engineer. He has had extensive experience as a director and writer in radical theatre, including productions at the Drury Lane Arts Lab and as co-director of Medium Fair, the first mobile rural community arts group, and of the reminiscence theatre company Fair Old Times. He is the author of The Politics of Performance: Radical Theatre as Cultural Intervention (Routledge, 1992) and The Radical in Performance: Between Brecht and Baudrillard (Routledge, 1999), and co-author of Engineers of the Imagination: the Welfare State Handbook (Methuen, 1990).
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Zatzman, Belarie. "Fifty-One Suitcases: Traces of Hana Brady and the Terezin Children." Canadian Theatre Review 133 (March 2008): 28–37. http://dx.doi.org/10.3138/ctr.133.005.
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The suitcase is a provocation. First, to a group of young people in Tokyo and their teacher, Fumiko Ishioka, at the Tokyo Holocaust Education Resource Centre; then to Karen Levine, producer at the CBC; and later, to Allen MacInnis, artistic director, and Emil Sher, playwright, at the Lorraine Kimsa Theatre for Young People (LKTYP) in Toronto. Sher’s new script (2006) is an adaptation of Levine’s book Hana’s Suitcase (2002) and is a superb piece of children’s theatre. Sent from the Auschwitz-Birkenau State Museum in 2000 as an artefact for Ishioka’s new Holocaust Centre, the suitcase prompted questions: “Who was Hana?” “Where did she come from?” “What happened to her?” (Levine 5). Urged on by the children from Tokyo, Ishioka embarked on a journey across Europe to solve the mystery of Hana’s suitcase, a search that ended with the discovery that Hana’s only sibling, George, had survived the war and was living right here in Canada. MacInnis notes, “What drew me to Hana’s Suitcase and made me want to stage a play version is the wonder that Hana dreamed of being a teacher and, even though she perished at the hands of the Nazis, her story sixty years later is teaching children” (3). Since its publication, Hana’s Suitcase has been translated into over thirty languages and has won more than twenty awards internationally. In Canada, in addition to its two sold-out runs at the LKTYP, Hana’s Suitcase has played at the Citadel Theatre in Edmonton and the Manitoba Theatre for Young People. Sher’s adaptation held its American premiere at St. Louis’s Metro and was mounted at First Stage Children’s Theatre in Milwaukee this fall. During the 2007—8 season, the play will also tour to the Green Thumb Theatre in Vancouver; to Geordie Productions in Montreal, and back to Edmonton’s Citadel Theatre for a return engagement.
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Levy, Deborah. "Questions of Survival: towards a Postmodern Feminist Theatre." New Theatre Quarterly 9, no. 35 (August 1993): 225–30. http://dx.doi.org/10.1017/s0266464x00007946.
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Deborah Levy is a playwright, poet, and novelist, whose theatre work is informed by a concern to combine visual imagery, music, and text. After working with visual artists and sculptors, and performing her poetry in pubs and galleries and on the cabaret circuit, she was commissioned by the Women's Theatre Group to write Pax. This was followed by Clam, three more plays for the fringe, and then by Heresies for the RSC. She is currently working on an adaptation of Angela Carter's Nights at the Circus. A collection of Deborah Levy's poetry, An Amorous Discourse in the Suburbs of Hell, and a novel, Beautiful Mutants, have both been published by Jonathan Cape. She has also worked as a writer and director with the Magdalena Project, for whom she directed a devised theatre piece entitled The B File, based on her own short story ‘Swallowing Geography’. This was performed in October 1991 in the theatre of Chapter Arts Centre, Cardiff, where it was well received by both critics and audience, and has since been staged for the European Arts Festival at Chapter, and at the Old Museum Arts Centre, Belfast. It was in Cardiff that Irini Charitou, who acted in both productions of The B File, talked to Deborah Levy about her concerns and interests as a feminist playwright who has chosen postmodernism as a means of articulating her cultural position. Irini Charitou, who complements the interview with a brief introduction to Pax, Clam, and Heresies, is presently researching towards an MPhil on contemporary British and Greek women's theatre at the University of Lancaster.
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Marini-Maio, Nicoletta. "Theatrical Plots in a Spectacular Setting." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 3–6. http://dx.doi.org/10.33178/scenario.6.2.2.
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Palazzo del Bo is an impressive historical building that hosts part of the University of Padua. At the Bo, you may walk through the huge Sala dei Quaranta [Room of the Forty], so called because of the portraits of forty famous foreign students, such as Copernicus, who attended courses at this prestigious university. Then, you can stop before the podium from which Galileo Galilei used to teach math and physics between 1592 and 1610. Finally, you may enter the Teatro anatomico [Anatomic theater], the first place in the world where students of medicine could carry out research on dissected bodies: the anatomic table is still there, surrounded by six circular wooden tiers of three hundred seats. This was the spectacular scenario of the international seminar Plot me no plots: theatre in university language teaching (Padua, October 14-15, 2011),1 an inspiring opportunity to compare research findings, methods, and pedagogical perspectives with a very special group of colleagues teaching foreign languages through drama and theater in a number of countries across the world. 2 The materials presented were varied as the audience had the opportunity to listen to lectures, watch clips in several languages from actual play productions, and discuss or practice ...
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Kershaw, Baz. "Dramas of the Performative Society: Theatre at the End of its Tether." New Theatre Quarterly 17, no. 3 (August 2001): 203–11. http://dx.doi.org/10.1017/s0266464x0001472x.
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The emergence of new performance paradigms in the second half of the twentieth century is only now being recognized as a fresh phase in human history. The creation of the new discipline, or, as some would call it, the anti-discipline of performance studies in universities is just a small chapter in a ubiquitous story. Everywhere performance is becoming a key quality of endeavour, whether in science and technology, commerce and industry, government and civics, or humanities and the arts. We are experiencing the creation of what Baz Kershaw here calls the ‘performative society’ – a society in which the human is crucially constituted through performance. But in such a society, what happens to the traditional notions and practices of drama and theatre? In this inaugural lecture, Kershaw looks for signs and portents of the future of drama and theatre in the performative society, finds mostly dissolution and deep panic, and tentatively suggests the need for a radical turn that will embrace the promiscuity of performance. Baz Kershaw, currently Professor of Drama at the University of Bristol, trained and worked as a design engineer before reading English and Philosophy at Manchester University. He has had extensive experience as a director and writer in radical theatre, including productions at the Drury Lane Arts Lab and with the Devon-based group Medium Fair, where he founded the first reminiscence theatre company Fair Old Times. His latest book is The Radical in Performance (Routledge, 1999). More recently he wrote about the ecologies of performance in NTQ 62.
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Mitchell, Katie, and Mario Frendo. "A Conversation on Directing Opera." New Theatre Quarterly 37, no. 3 (July 19, 2021): 246–55. http://dx.doi.org/10.1017/s0266464x21000142.
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Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.
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Asare, Masi. "The Black Broadway voice: calls and responses." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 343–59. http://dx.doi.org/10.1386/smt_00047_7.
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Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey, actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period shows, and the fantasy of the generic, idealized ‘Black Broadway voice’. The group details unspoken, misguided industry assumptions that Black singers do not produce multiple kinds of belt sounds, do not use the vocal mix sound, and sing only in a heavy (power) sound virtuosically ornamented with riffs that evokes for (white) listeners a misleadingly monolithic idea of ‘the Black church’. As these artists point out, ‘We do not all go to the same church’; in fact, the ability to fluidly move between more classical (legit) and gospel vocal sounds may actually arise from a singer’s training in the church choir. Collectively these artists have worked on multiple Broadway and off-Broadway shows from The Color Purple to Hamilton and A Strange Loop, major tours and regional productions of shows such as Hair, Ain’t Misbehavin’, and Waitress, and hold songwriting credits from the prestigious BMI musical theatre writing workshop to Netflix. This conversation took place in October 2019.
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Fox, Charlie. "Strata for Crossfiring: Immersive Interactivity with Sound." Canadian Theatre Review 129 (January 2007): 89–92. http://dx.doi.org/10.3138/ctr.129.014.
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Crossfiring was a dynamic multidisciplinary art event, involving a dedicated and inventive group of contemporary artists in the creation of dance, theatre, performance art, music and installation art. Presented at the Claybank National Historic site, just outside the village of Claybank, Saskatchewan, Crossfiring was organized by the innovative collective Knowhere Productions, August-September 2006. One of the main features of Crossfiring was the commissioning of a diverse group of artists to create site-specific artworks, including audio-based artworks. The commissions challenged each artist to develop new, unique work that responded to the history and striking presence of the Claybank historic site and the surrounding prairie landscape of the Dirt Hills and Regina Plain; Crossfiring presented me with an opportunity to develop a new installation artwork that would contemplate the historical and geographical layers of this remarkable site. The enthusiasm and interest level of all of the artists was high, and the collaborative opportunities many, turning the Claybank factory and surroundings into a beehive of creative activity.
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Küppers, Almut, and Maik Walter. "Is Shakespeare a Foreign Language?" Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 1 (January 1, 2012): 146. http://dx.doi.org/10.33178/scenario.6.1.11.
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An Interview with Peadar Donohoe, Artistic Director of Cyclone Repertory Company, Cork Cyclone Repertory Company Ltd. is a core group of actors & technicians based in Cork who are devoted to the art of theatre to serve the wider community through quality productions that entertain and educate. More recently the company has been very successful in Ireland with performances of their ‘pedagogic adaptations’ of plays by William Shakespeare. Scenario readers may also wish to view short films which give a first impression of the unique way in which Cyclone have managed to make Shakespeare’s texts accessible and interesting to Irish secondary school students. The SCENARIO interview with Peadar Donohoe can be downloaded hereFor a short film on Cyclone’s approach to Macbeth click here, for a short film on Hamlet click here
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Cousin, Geraldine. "The Touring of the Shrew." New Theatre Quarterly 2, no. 7 (August 1986): 275–82. http://dx.doi.org/10.1017/s0266464x00002232.
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Of all Shakespeare's plays which touch on raw contemporary nerves, The Taming of the Shrew is probably the most contentious – and arguably the least acceptable, in a period of crystallizing feminist consciousness. Yet the play stubbornly remains in the repertoire, almost demanding to be reinterpreted – either against the perceived grain of the text, or by clarifying subtextual sympathy for a less chauvinist point of view than Petruchio's. Here, Geraldine Cousin, who teaches theatre studies in the University of Warwick, and contributed a study of the Footsbarn company's Hamlet and Lear to NTQ1, discusses the problems involved in staging The Taming of the Shrew at the present time, taking a closer look at two recent itinerant productions – by the Medieval Players, and by the touring group of the Royal Shakespeare Company.
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McMaster, Juliet. "Pamela Brown's The Swish of the Curtain." Journal of Juvenilia Studies 1 (July 4, 2018): 48–61. http://dx.doi.org/10.29173/jjs109.
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Pamela Brown published her novel The Swish of the Curtain in 1941 when she was only sixteen, and it has had remarkable staying power, outlasting the many books she published as an adult, and achieving adaptation on radio and television. The novel has also given its name to a chain of drama programs for children across England. Brown’s well-told tale of a group of stage-struck teenagers who luck into a theatre and proceed to stage successful productions has some autobiographical elements, as she draws on her own stage activities with her friends in Colchester (fictionalised as “Fenchester”). But, interestingly, she made the progress of her characters a model for herself, and proceeded to carve out a similar path towards Drama School, a career on stage, and authorship.
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Shevtsova, Maria. "Moscow’s Golden Mask Festival: The Russian Case (Online, 2021)." New Theatre Quarterly 37, no. 4 (November 2021): 376–88. http://dx.doi.org/10.1017/s0266464x21000300.
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The team running the Russian Case as part of Moscow’s annual Golden Mask Festival pulled off a major feat in 2021 by organizing a five-day programme online. Deeply disappointed that the Russian Case had been cancelled in the preceding year due to the Covid pandemic, this group made it its mission to succeed in adverse circumstances; and succeed it did by providing works varied enough to engage its habitual audience, as well as people coming to the event for the first time, albeit digitally. In a departure from established practice, several productions that were performed too late to compete for the awards of the 2021 Festival appeared in this year’s Russian Case. The overview offered here gathers some works out of the choices made by Maria Shevtsova, Editor of New Theatre Quarterly, whose most recent book is Rediscovering Stanislavsky (Cambridge University Press, 2020).
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Pekkala, Laura, and Riku Roihankorpi. "An Artistic Community and a Workplace." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.
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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project supported by Theatre Centre Finland, the study observed aspects of organizational development and learning as well as sustainable work in the said theatres. This was done via ethnographic and multiple case study methodologies. The study defined a theatre organization as a community for artistic work and a workplace for a diverse group of theatre professionals. The cases and the ethnographies were then reflected against current Finnish cultural policy.As descendants of the group theatre movement – arising from artistic ambition and opposition to commercialism – Finnish independent theatres have developed in different directions in their ideas of theatre, artistic visions, objectives, production models, and positioning in the field. Yet, there is a tendency to define independent theatres in opposition to theatres subsidized by law (the so-called VOS theatres), instead of laying stress on their specific artistic or operational visions or characteristics. This emphasis is present in public discussions, but also in the self-definitions of independent theatres. Money, and the economic affairs it underlines, strongly interact with the development, organizational learning, and working culture of Finnish independent theatres. Theoretically, we promote a Simmelian framework that stresses the socio-cultural dimension of money. Thus, we examine how the practices of the monetary economy are present in the practices and the development of independent theatres, and how this reflects their position within the current cultural policy and funding systems. Based on the above, the article suggests a more versatile approach to artistic independent theatres – one that emphasizes recognizing the heterogeneity of their operating models and artistic orientations, and their roles as diverse artistic communities aside from workplaces.
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Jurak, Mirko. "William Shakespeare and Slovene dramatists (I): A. T. Linhart's Miss Jenny Love." Acta Neophilologica 42, no. 1-2 (December 30, 2009): 3–34. http://dx.doi.org/10.4312/an.42.1-2.3-34.
Full textAbstract:
One of the signs of the universality of William Shakespeare's plays is undoubtedly their influence on plays written by other playwrights throughout the world. This is also true of Slovene playwrights who have been attracted by Shakespeare's plays right from the beginning of their creativity in the second half of the eighteenth century, when Anton Tomaž Linhart (1756-1795) wrote his tragedy Miss Jenny Love.-However,-Slovene knowledge about-Shakespeare and his plays reaches back-into the seventeenth century, to the year 1698, when a group of Jesuit students in Ljubljana performed a version of the story of ''King Lear in Slovene. The Jesuits used Slovene in theatrical performances, which were intended for.the broadest circles of the population. The first complete religious play, written in Slovene, is Škofjeloški pasjon (The Passion Play from Škofja Loka), which was prepared by the Cistercian monk Father Romuald. Since 1721 this play was regularly performed at Škofja Loka for several decades, and at the end of the twentieth century its productions were revived again.In December 2009 two hundred and twenty years will have passed since the first production of Anton Tomaž Linhart's comedy Županova Micka (Molly, the Mayor's Daughter). It was first performed in Ljubljana by the Association of Friends of the Theatre on 28 December 1789, and it was printed in 1790 together with Linhart's second comedy, Ta veseli dan ali Matiček se ženi (This Happy Day, or Matiček Gets Married; which was also published in 1790, but not performed until 1848). These comedies represent the climax of Linhart's dramatic endeavours. Linhart's first published play was Miss Jenny Love (1780), which he wrote in German. In the first chapter of my study 1shall discuss the adaptation of Shakespeare's texts for the theatre, which was not practiced only in Austria and Germany, but since the 1660s also in England. Further on I discuss also Linhart's use of language as the "means of communication". In a brief presentation of Linhart's life and his literary creativity I shall suggest some reasons for his views on life, religion and philosophy. They can be seen in his translation of Alexander Pope's "Essay on Man" as well as his appreciation of Scottish poetry. The influence of German playwrights belonging to the Sturm and Drang movement (e.g. G. T. Lessing, J. F. Schiller, F. M. Klinger) has been frequently discussed by Slovene literary historians, and therefore it is mentioned here only in passing. Slovene critics have often ascribed a very important influence of English playwright George Lillo on Linhart' s tragedy Miss Jenny Love, but its echoes are much less visible than the impact of Shakespeare's great tragedies, particularly in the structure, character presentations and the figurative use of language in Linhart's tragedy. 1shall try to prove this influence in the final part of my study.Because my study is oriented towards British and Slovene readers, 1had to include some facts which may be well-known to one group or to another group of readers. Nevertheless I hope that they will all find in it enough evidence to agree with me that Shakespeare's influence on Linhart's play Miss Jenny Love was rather important.
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Frank, Marion. "Theatre in the Service of Health Education: Case Studies from Uganda." New Theatre Quarterly 12, no. 46 (May 1996): 108–15. http://dx.doi.org/10.1017/s0266464x00009933.
Full textAbstract:
International organizations are increasingly turning to theatre as a means of raising development issues, exploring options, and influencing behaviour. This paper examines some structures and techniques inherent in this type of applied theatre, analyzing two plays used to supplement AIDS education programmes in Uganda. One is a video production by a typical urban popular theatre group, while the second production analyzed exemplifies the Theatre for Development approach through its sub-genre, Campaign Theatre, used to raise awareness on health issues, hygiene, sanitation, child care, and the environment. The study analyzes the performance of the two plays and addresses some contradictions arising from the involvement and influence of external organizations. Marion Frank is a graduate of Bayreuth University in Germany, whose extensive field research has resulted in the publication of AIDS Education through Theater (Bayreuth African Studies Series, Bayreuth, 1995). Dr. Frank is currently living in the US, where as a Visiting Scholar at Duke University she is now working on a research project aiming to establish a closer link between literary/cultural studies and medicine/medical anthropology.
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Benbow, Heather, and Andreas Dorrer. "‘KULTURKRIEG’ BEHIND BARBED WIRE: GERMAN THEATRE IN AN AUSTRALIAN FIRST‐WORLD‐WAR INTERNMENT CAMP." German Life and Letters 77, no. 2 (April 2024): 195–217. http://dx.doi.org/10.1111/glal.12407.
Full textAbstract:
ABSTRACTThis article is the first in‐depth study of the ‘Deutsches Theater Liverpool’, probably the most successful non‐English theatre ever on Australian soil, selling out daily performances and mounting a new production each week. The theatre's success was due in large part to its location inside the ‘German Concentration Camp’, the largest First World War (WWI) internment camp in Australia. In contrast to most WWI internment camps around the world, its almost six thousand ‘enemy alien’ internees were a mixture of civilians – most of whom called Australia home before the war – merchant sailors and naval personnel. For this diverse group of men, the theatre was more than entertainment; it was an important way to spend their time meaningfully. We argue that this meaning was strongly connected to the (re)negotiation of identity through theatre, allowing the internees to contribute to the war effort understood at the time in German public discourse as a ‘Kulturkrieg’, a battle for the survival of German culture. Theatre‐makers and audiences (re)engaged with their Germanness through ideas of ‘Kameradschaft’, German diligence and the joint duty of ‘durchhalten’ – ‘making do’. The critical importance of female impersonation in the achievement of the theatre's cultural aims rounds out our analysis of the D.T.L.