Relevant bibliographies by topics / Keith's Theatre

Academic literature on the topic 'Keith's Theatre'

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Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Keith's Theatre"

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Cahill, Dennis, and Deborah lozzi. "Theatresports / 1: Loosening." Canadian Theatre Review 44 (September 1985): 30–36. http://dx.doi.org/10.3138/ctr.44.006.

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In 1976 Keith Johnstone and a group of his students formed the Secret Impro Group to perform noon-hour shows at the University of Calgary. The following summer they regrouped to form The Loose Moose Theatre Company which is currently at the forefront of the theatrical activity known as Theatresports. Loose Moose was created with specific goals, namely to create a theatre with a distinctly Canadian identity based on Keith Johnstone’s techniques of improvisation, a theatre that relies on and develops the skills of local performers and talents, that is affordable as well as responsible and accessible to a diverse public, a theatre that entertains, involves, and energizes its audience.
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Gallasch, Keith. "Promise and Participation: Youth Theatre in Australia." New Theatre Quarterly 2, no. 5 (February 1986): 90–93. http://dx.doi.org/10.1017/s0266464x00001950.

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If theatre-in-education achieved its impact by taking theatre to the young in the 'seventies, then the developing youth theatre movement might be seen as part of the reaction to that initiative in the 'eighties. Here Keith Gallasch, artistic director of the State Theatre Company in South Australia, himself a writer, recalls his first involvement with youth theatre, and goes on to sketch some of its dilemmas and prospects.
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Garebian, Keith, and Meg Westley. "William Hutt: A Theatre Portrait." Canadian Theatre Review 62 (March 1990): 81–82. http://dx.doi.org/10.3138/ctr.62.013.

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In his foreword to William Hutt: A Theatre Portrait, Keith Garebian states that his book is intended to be a “theatre portrait rather than a full fledged biography,” its specific aim being to “determine what has made Hutt the kind of actor he is today.” This statement of purpose is welcome, for it suggests that Garebian will focus specifically on Hutt as an actor, analyzing the relationship between the man and his work, and offering insights into his art.
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Johnston, Denis W., and Harry Lane. "Up the Mainstream: The Rise of Toronto’s Alternative Theatres, 1968-1975." Canadian Theatre Review 77 (December 1993): 79–81. http://dx.doi.org/10.3138/ctr.77.013.

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One of the most endearing qualities of Up the Mainstream is its rich collection of colourful anecdotes about the creators of Toronto’s alternative theatres in the late 60s and 70s. Some of the stories are merely trivial: in 1969 Chris Brookes’s company “blithely” cut a hole in the floor of Trinity Square Church Hall (53); for NDWT’s one-day performance of Reaney’s entire Donnelly trilogy in 1975, Mallory Gilbert “organized a huge gourmet lunch” (246). Some are merely fanciful: in summer 1969 “it seemed like everyone was falling in love” (61). But there is also useful detail about the early careers of key figures in Toronto’s alternative theatres, such as the account of the University of Western Ontario in the 1960s, where Paul Thompson, Martin Kinch, and Keith Turnbull began, and Jack Chambers painted scenery, and John Boyle acted (239). There is some gossip, such as hints about who caused the Festival of Underground Theatre’s deficit (73). But there is a storyteller’s fascination with personal charisma: when Jim Garrard left Theatre Passe Muraille in 1969, the actors treated him like “a departed god” (63); both Garrard and Louis Capson are credited with “messianic” qualities, though of rather different kinds (217); Bena Shuster is “dynamic and admittedly arrogant” (163); John Palmer is “tempestuous” (55) and projects a “manic power” (58). In a certain but limited sense the book’s colourful narrative helps one to feel that one was “there.”
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Paul, Abigail. "Incorporating theatre techniques in the language classroom." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 2 (July 1, 2015): 115–24. http://dx.doi.org/10.33178/scenario.9.2.8.

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The following workshop was presented at a Foreign Language and Drama Conference at the University of Reutlingen on July 10, 2015. It outlines the use of improvisational theatre techniques in the foreign language classroom by making parallels between the communicative approach to language learning and improvisational theatre techniques learned in various books read and seminars attended by the author throughout the years in numerous cities, but predominantly with Second City Chicago1, iO Chicago2, Keith Johnstone, and Comedy Sportz3. As Friederike Klippel states, “activities are invented, but we rarely know who invented them. Like games or folk songs they are handed on from teacher to teacher” (Klippel 1985: 1). Similarly improvisational activities morph over time, with each teacher adding his or her own personal flair. The seminar is built predominantly on the games and philosophies as outlined by theatre practitioners Augusto Boal, Viola Spolin and Keith Johnstone, but from the viewpoint of the author. While these activities can be used for a variety of purposes with native and non-native English speakers in a number of areas, the focus in the following is on the second language learner. The generally-accepted understanding of a communicative approach to language learning is that it focuses ...
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Frey, Heather Fitzsimmons. "Intercultural Bodies: The Forbidden Phoenix and ANIME in Edmonton." Canadian Theatre Review 139 (July 2009): 43–49. http://dx.doi.org/10.3138/ctr.139.006.

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From 2001 to 2008, Edmonton was the site of two very different intercultural theatre projects. The Forbidden Phoenix by Marty Chan and Robert Walsh looked to American musical theatre and traditional Peking Opera for aesthetic inspiration, while ANIME by Keith Wyatt drew from feudal Japan and a contemporary, Japanese, anime version of an apocalyptic near future. In conversations with members of the artistic teams, I learned about their decision to create and their struggles with making story, music and mise-en-scène choices, but what fascinated me the most was how the projects dealt with the performing bodies – the actors.
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Bradby, David. "The Playwright in the French Theatre — A Reply to Keith Gore." Theatre Research International 16, no. 2 (1991): 128–41. http://dx.doi.org/10.1017/s0307883300010233.

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Keith Gore's article ‘The Playwright in an institutionalized theatre’ (TRI, vol. 15, no. 2, Summer 1990) paints a dismal picture of the state of affairs in France at the end of the 1980s. Gore claims that the French playwright is an endangered species, the victim of predatory directors whose uncontrolled lust for power has weakened and impoverished the whole institution. Gore is able to support his claims with an impressive array of statistics and his article must be welcomed for making these available to English readers and for raising what is an important subject for debate. He was greatly helped by the publication, in 1987, of a meticulously researched and far-reaching report on the playwright in the French theatre by Michel Vinaver. Gore's fundamental suspicion of the director finds many echoes among practitioners of French theatre to-day. It has become fashionable to demonize the director and to accuse him (or occasionally her) of stifling new talent. But although the record of French theatre in the decade since the Socialists came to power is, to some extent, disappointing, it is not as bleak as Gore suggests, nor is it helpful to suggest that all its ills can be traced to a single source in the director. The director, too, is a product of the same political and cultural forces that have been at work gradually changing the shape of the theatrical map in France.
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Barroso, Tomaz. "Repetição e espontaneidade." Conceição/Conception 11 (September 21, 2022): e022004. http://dx.doi.org/10.20396/conce.v11i00.8668827.

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O presente artigo possui como tema o diálogo entre as pedagogias dos professores Sanford Meisner e Keith Johnstone. Pretende-se demonstrar como o conceito e a aplicação prática da repetição, tal como trabalhada pelo primeiro, pode ser um meio de promover a espontaneidade, na acepção do segundo. Essa proposta é baseada nas obras On Acting, de Meisner, e Impro - Improvisation and the Theatre, de Johnstone, bem como em outras fontes bibliográficas que servirão como suporte.
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Walden, Keith. "Whose Method? Culture, Commerce, and American Performer Training." New Theatre Quarterly 19, no. 4 (October 8, 2003): 318–25. http://dx.doi.org/10.1017/s0266464x03000216.

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The rapid acceptance in America of Stanislavsky's approach to actor training is often presented as an unexpected and unaccountable imposition of foreign culture. But Keith Walden argues that, while the ‘method’ may have been an innovation in acting schools, its goals and techniques were already familiar in other spheres of American life – particularly in the voluminous advice literature directed at salespeople. The similarities are not surprising, since both attempts to shape performances were inspired by the erosion of older notions of coherent, stable selfhood. Though the cultural purposes of acting and selling remained sharply different, the transgressive potential of modern theatre was dependent on a widespread belief that the roles required in ordinary work should be competently enacted. Keith Walden is a member of the History Department at Trent University in Peterborough, Ontario. He is a former editor of the Canadian Historical Review and author of Becoming Modern in Toronto: the Industrial Exhibition and the Shaping of a Late-Victorian Culture.
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Smith, J. Percy. "Keith Garebian. George Bernard Shaw and Christopher Newton: Explorations of Shavian Theatre." Theatre Research in Canada 15, no. 1 (January 1994): 114–15. http://dx.doi.org/10.3138/tric.15.1.114.

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Dissertations / Theses on the topic "Keith's Theatre"

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McLeod, Cory. "The use of Keith Johnstone's concepts of 'Circles of Expectation' and Vogler's generic story structure as directorial aids in comedy theatre." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/13899.

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The area of research the author of this written submission has investigated is directing comedy theatre. The research problem dealt with in the research was the use of Keith Johnstone's concept of 'Circles of Expectation' and Vogler's generic story structure as directorial aids in comedy theatre. The method with which the research problem was explored was through writing and directing a comedy with UCT Drama Students entitled Image! The play opened at The Standard Bank National Arts Festival in Grahamstown on 1 June 2000 and later opened at The Arena Theatre in Cape Town on 18 June 2000. The following written submission contains two parts. The first part of the written submission is a theoretical explication of the creative method applied in directing Image! The second part contains the script of lmage! In the first chapter of the theoretical explication the author examines the theory of the creative method, which was applied in directing Image!, which views actor-director communication as improvisation. In the second chapter of the theoretical explication the author examines a theory of laughter, based on Arthur Koestler's The Act of Creation (1971) and explains how Koestler's theory of laughter informs the author's creative method of actor-director communication in comedy theatre. In the third chapter the author outlines the theories underlying Vogler's generic story structure and Johnstone's concept of 'Circles of Expectation' and how these were used as directorial aids in the process of directing Image! The author examines how these theories were used as methods of script development and how they were used to inform the comic specifics of the performance.
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Garrett, Yanis. "Offer, Accept, Block, Yield: the poetics of open scene additive improvisation." Faculty of Education and Social Work, 2006. http://hdl.handle.net/2123/1901.

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Master of Philosophy
This single case study examines the way that Johnstone’s (1981) Impro ‘Poetics’ are being used in the contemporary practice of Open Scene Additive Improvisation (OSAI). Johnstone’s Poetics have become a ubiquitous part of contemporary drama improvisation parlance, yet they have never themselves been the subject of any academic examination. This study attempts to fill that void by looking at their use in Open Scene Impro, the purest form of theatre improvisation (since OSAI relies on no structures other than the audience suggestion around which to improvise a ‘Scene’.) To do this, the research analysed seven OSAI Scenes performed by 3 undergraduate student improvisers at the University of Sydney in July 2003, and looked at the ways in which the actions that Johnstone’s Poetics describe are actually being used. Looking closely at Scene segments, the study identifies a number of features: the ways that Offers are used to initiate, re-initiate, confirm or redirect meaning across five identified fields; the ways that Accepts temper these meanings; the productive use of Blocking in a Scene; and many other functions. It was also found that in-Scene negotiations about definition of situation became a subtextually enmeshed part of the Scene’s meaning (often in Phases of improvisers’ conflicting Endowments), while the predictive and framing control of narrative-indexing Offers ensured that character roles became defined early on in all Scenes. Overall, the study’s analysis dissects each of the Poetics to show that improvisers use them for a number of major purposes crucial for the reality, forward-movement and coherence of a Scene to obtain. The study concludes by elucidating how the nine main Poetics (Offer, Endow, Justify, Advance, Extend, Reincorporate, Accept, Block and Yield) serve these purposes. These purposes are then abstracted into the TOE Model, which in turn forms the basis of a proposed dynamic and holistic model for understanding OSAI at each moment of its (re-)creation. The ultimate aim, beyond the reach of the present study, is to be able to understand an Open Scene’s every moment, and each moment’s reference historically backwards, and, to some degree, predictively forwards in time. To this end, the fundamental dynamic of contextualised giving and receiving in OSAI is morphed into a Taoist energetic model, a “Tao of Impro”, along with the notion, derived from Mandelbrot, of ‘cybernetic semantic iteration’, by which information seems to get processed in Open Scenes. The educational implications of these models are then sketched, and future directions for research in OSAI pointed to.
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Robins, Gavin. "Moving the actor : towards an holistic approach to training and devising for performance." Thesis, Queensland University of Technology, 2002.

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The purpose of this study is to understand holistic, practical methods of training and devising for physical performance. The research conducted in this thesis is designed to uncover insights into the training and devising mechanisms of my substantial experience with leading physical theatre company Legs on the Wall. In order to understand the training and devising mechanisms of Legs on the Wall I have presented a selected history of the company from their formation in 1983 to 2000. This historical overview traces major influences on the group as well as the type of training and devising the company has incorporated into their work. The way in which the company's training and devising has impacted on the development of other theatre companies and performers has been critically evaluated by the analysis of three case studies. Findings from these case studies as well as insights gained from the analysis of relevant historical data has been collated in order to answer one of the key questions in this study: What are the mechanisms by which the Legs on the Wall training and devising process extends the physical language of actors in other professional physical theatre companies - working with their own text, dramatic structure or scenario - without impeding the artistic vision of the company? A theme running through this study is an inquiry into the notion of holism in training for the contemporary performer. Legs on the Wall's training and devising mechanisms are reviewed in light of the concept of holism and the thesis seeks to reveal reflections by several theatre authorities relating to this topic at relevant moments in the study. Findings gained from my field research in Southern India provide further examples of holism and the notion of training for and creating a 'total theatre'. By referring to the three case studies based on the application of Legs on the Wall's training and devising mechanisms along with the findings relating to the concept of holism I am seeking to answer the other key question of this research: What constitutes holistic movement training for contemporary theatre practice? Having addressed the above key questions I allude to future directions and recommendations for the embodied contemporary performer. This study aims to provide a practical analysis of my own praxis in the field of physical performance in the hope that other practitioners may be able to apply the methods and recommendations outlined in this thesis to their own work in the performing arts industry.
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Keith, Caleigh M. "The Spirit of the Spitfire: Creating the Role of Nancy Shedman in Romulus Linney's "Holy Ghosts"." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1593.

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This thesis explains the acting method used by Caleigh Keith while portraying the role of Nancy Shedman in Romulus Linney’s Holy Ghosts. Included are chapters of historical research, character analysis, and a production report, which includes a scored script, rehearsal and performance journal, and a self-evaluation of the actor’s work. Holy Ghosts was produced by Theater UNO at the University of New Orleans in the Robert E. Nims Thrust Theater of the Performing Arts Center. It opened Tuesday, February seventh, and ran through Sunday, February twelfth, two thousand and twelve. Evening performances were at seven-thirty and Sunday’s matinee was at two o’clock in the afternoon.
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Hunter, Mark Dolan Jill. "Theatrical wonder." 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1578/hunterm00223.pdf.

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Hunter, Mark. "Theatrical wonder." Thesis, 2005. http://hdl.handle.net/2152/1578.

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Urban, Jan. "Improvizační divadlo - divadelní sporty v České republice." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-298684.

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This thesis focuses on the Theatresports as a general category of improvisational theatre. Theoretically analyses their structure in terms of theatre studies and interprets the principles of this specific approach to theatre production, deals with their history and development, also is trying to establish a suitable theoretical and conceptual apparatus for them. It also reflects the decade of work of Theatresports in the Czech Republic, summarizes their characteristics and places them in context with other selected speeches theatrical improvisation on the Czech scene. Keywords: Theatresports, Keith Johnstone, improvisational theatre, improvisation, contemporary Czech theatre, Czech improvisational League
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Books on the topic "Keith's Theatre"

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Langergräber, Keith. Keith Langergraber: The theatre of the exploding sun. Kelowna, British Columbia: Kelowna Art Gallery, 2013.

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2

Hlushko, Stanislav. The System of Theatrical Improvisation: Ukrainian publisher presents the essay "The system of theatrical improvisation,” a result of ten-year experience of actor Stanislav Hlushko in the "Black Square" theater, Kiev. Improvisation by itself is not a novelty. It is known from performances of the antiquity by strolling comedians, Commedia dell'arte performers in Italy... A myth was created that improvisation should be prepared, and there is no other way. In the middle of the last century, Viola Spolin and Keith Johnstone began to develop improvisation techniques… This book describes a fundamentally different approach to improvisation, free of any restrictions. Systematically described are the basic laws of existence of an actor in spontaneous improvisation, fundamentals of improvisational dialogue, structural improvisation, and various playing situations. Kiev, Ukraine: Dmytro Strelbytskyy, 2014.

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Ammen, Sharon. Never Were There Such Devoted Sisters. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040658.003.0002.

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This chapter traces May Irwin’s life from her early move from Canada to America in a vaudeville act with her sister, Flo Irwin. Her apprenticeship with Tony Pastor is reviewed in detail, as is her subsequent split with Flo to work with Augustin Daly. Daly represented a new kind of manager-director in American theatre who used nineteenth century notions of realism on the stage. Irwin’s combined natural ability and technical training assisted her rise to stardom when she left Daly’s company for financial reasons. The chapter considers factors contributing to 1890s theatre growth, the emergence of new theatre audiences, and the success of the Keith-Albee Circuit. The chapter concludes with Irwin’s success in The Widow Jones as she becomes America’s “reigning Queen of Comedy.”
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A Guide to Keith Johnstone's Gorilla Theatre (2) (Iti Format Guides). International Theatresports Institute, 2017.

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Davis, Jed H. Theatre Education: Mandate for Tomorrow : A Monograph by Eight Leaders of the American Theatre : Oscar G. Borckett, Keith M. Engar, Gregory A. Falls. Anchorage Pr Plays, 1985.

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Wertheim, Arthur Frank. Vaudeville Wars: How the Keith-Albee and Orpheum Circuits Controlled the Big-Time and Its Performers (Palgrave Studies in Theatre and Performance History). Palgrave Macmillan, 2006.

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Janney, Caroline E., ed. Petersburg to Appomattox. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640761.001.0001.

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The last days of fighting in the Civil War's eastern theater have been wrapped in mythology since the moment of Lee's surrender to Grant at Appomattox Court House. War veterans and generations of historians alike have focused on the seemingly inevitable defeat of the Confederacy after Lee's flight from Petersburg and recalled the generous surrender terms set forth by Grant, thought to facilitate peace and to establish the groundwork for sectional reconciliation. But this volume of essays by leading scholars of the Civil War era offers a fresh and nuanced view of the eastern war's closing chapter. Assessing events from the siege of Petersburg to the immediate aftermath of Lee’s surrender, Petersburg to Appomattox blends military, social, cultural, and political history to reassess the ways in which the war ended and examines anew the meanings attached to one of the Civil War's most significant sites, Appomattox. Contributors are Peter S. Carmichael, William W. Bergen, Susannah J. Ural, Wayne Wei-Siang Hsieh, William C. Davis, Keith Bohannon, Caroline E. Janney, Stephen Cushman, and Elizabeth R. Varon.
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Something Written In The State Of Denmark An Actors Year With The Royal Shakespeare Company. Oberon Books, 2010.

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Book chapters on the topic "Keith's Theatre"

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Hunter, Lynette. "Constellation: Engaging with Radical Devised Dance Theatre: Keith Hennessy’s Sol Niger." In Performance, Politics and Activism, 132–53. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137341051_9.

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Gooch, Bryan N. S., and David Thatcher. "All’s Well that Ends Well." In A Shakespeare Music Catalogue, 3–15. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129417.003.0001.

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Abstract II. Adams, James Alan. [—]. MS [I 980 ]. Incidental music: [2 tpt, perc, vln, vcl, pf]. First performed B. Iden Payne Theatre, University of Texas at Austin, 14 November r980 (Sean Henningan, Bertram; Marcia Hardin, Helena; James Coate, Lavatch; Mark Watley and Keith McGuire, tpts; Carlos Torrez, perc; Neela Kinariwala, vln; Mark Holt, vcl; Vickie Bibro, pf; Kathleen Conlin, director). II. Amram, David. [—]. MS [1966 (composer)]. Incidental music: [ch orch]. First performed New York Shakespeare Festival, Delacorte Theater, Central Park, [8] June 1966 (Richard Jordan, Bertram; Barbara Barrie, Helena; Charles Durning, Lavatch; Joseph Papp, director).
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Harker, Brian. "Buck and Bubbles." In Sportin' Life, 31–44. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197514511.003.0004.

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This chapter recounts how Bubbles came together with pianist Buck Washington to form the vaudeville team of Buck and Bubbles. They met in Louisville in late 1917, after the United States had entered World War I. With wartime contingencies crippling Black theaters, Buck and Bubbles began their entertaining career at the bottom, in saloons, corner stores, truck beds, and hotel dining rooms, performing for white patrons. They briefly joined a third entertainer to appear as the Three Ink Spots. For a few months Bubbles went on the road with a carnival troupe. After he returned to Louisville, he and Buck got the chance to perform at B. F. Keith’s Mary Anderson Theatre. A powerful producer named Irwin Rosen saw them audition and invited them to work for him in New York. They left for the big city in the middle of January 1920.
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Corson, Keith. "Tyler Perry, T.D. Jakes, and the Birth of Gospel Cinema." In From Madea to Media Mogul. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496807045.003.0003.

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Since Perry’s plays share with his film production a similar thematic focus on Christian morality, Keith Corson’s contribution to this collection charts the rise of regional theatre and the translation of the financial, aesthetic, and political model of “gospel theatre’s” urban circuit to the multiplex. In the process of identifying the evangelical influences of some contemporary African American films, which Corson calls “gospelcinema,” the chapter compares Perry’s films with televangelist T.D.Jakes’s in order to argue that their films have helped reshape notions of a Black film audience. Gospel cinema narratives often function as morality tales that align closely with the rise of the Black mega church as they express a middleclass idealism that is rooted in a doctrine of prosperity, self-help, and individualism. Yet, as Corson defines it, gospel cinema also features a unique blend of melodrama, folk humor, and camp aesthetics that complicate a simple faith-based reading.
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Gooch, Bryan N. S., and David Thatcher. "Cymbeline." In A Shakespeare Music Catalogue, 237–79. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129417.003.0006.

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Abstract 2432 Alpaerts, Flor. — MS 1938 (CeBeDeM [B 173/16u]). Incidental music: bar solo, fl, ob, cl, bsn, 2 hn, 2 tpt, perc (I player for dr, cym, trg), stgs. The MS also contains a pf reduction. 2433 Applebaum, Louis. —. MS [1986). Incidental music. First performed Stratford Shakespearean Festival, Festival Theatre, Stratford, ON, r August 1986 (Eric Donkin, Cymbeline; Martha Burns, Imogen; Benedict Campbell, Cloten; Keith Thomas, Guiderius; Brent Stait, Arviragus; Robin Phillips, director).
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Noë, Alva. "Coughing and the Meaning of Art." In Learning to Look, 97–100. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190928216.003.0027.

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This chapter details Keith Jarrett's solo piano recital at Davies Symphony Hall in San Francisco, as well as Karen Finley's performance at the American Repertory Theater in Cambridge, Massachusetts, assessing why there is so much coughing at live performances. One of the sources of art's value is that it provides an opportunity to pay attention and perceive what, after all, may require quite an effort to make sense of or appreciate. Art is an opportunity to cultivate in ourselves the ability to comprehend and perceive what is going on. Even the performers have trouble staying focused. This brings out what is all too obvious—namely, that the audience too is performing, and that the audience too is on display. People cough at live performances because they are uncomfortable, uncertain, very often bored out of their minds, and under pressure not to cough. Audiences cough to remind the artist that they are there and to let the artist know that they are uncomfortable. Artists and audiences both need to acknowledge that this discomfort is not a bad thing. In fact, it is what the audience is paying for.
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Corredera, Vanessa I. "“No tools with which to hear”: Adaptive Re-Vision, Audience Education, and American Moor." In Reanimating Shakespeare's Othello in Post-Racial America, 156–205. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474487290.003.0004.

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Chapter 4 explores Keith Hamilton Cobb’s play American Moor (2012) and its confrontation of how the white gaze stereotypes and therefore delimits Black masculinity’s relationship to Shakespeare and American culture. The play uses Othello as a touchstone, for as the actor auditions to play “the Moor” for a young, white director, overlaps appear between his experience and Othello’s. The chapter’s argument thus builds on the work of Peter Erickson and Margaret Jane Kidnie to contend that American Moor champions a turn to what “adaptive re-vision.” This term expands on Kidnie’s important assertion that “adaptation” is the standard against with “authentic” or “original” performance is established. Adaptive re-vision pushes back against the racialized nature of this commitment to authenticity by describing a performance that may approximate whatever is deemed “original” but that intentionally takes a critical point of view, embracing instead of rejecting adaptation as a mode for critiquing the white-oriented perceptions, traditions, and standards shaping Shakespearean theatre. This recuperative adaptation thus embraces Erickson’s concept of re-vision, accepting adaptation at the level of perspective, namely, a perspective that does not need to conform to the right/white one that has so long shaped the authoritative standard for performance. Importantly, Cobb models how to undertake this journey through audience education; essentially, strategies that strive to help audiences be receptive to the racial adaptive re-vision that American Moor poignantly encourages.
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