Relevant bibliographies by topics / New English theatre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'New English theatre'

Author: Grafiati
Published: 28 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "New English theatre"

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Benson, Eugene, and L. W. Conolly. "English-Canadian Theatre." Canadian Theatre Review 57 (December 1988): 90–91. http://dx.doi.org/10.3138/ctr.57.020.

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English-Canadian Theatre, part of a new Oxford University Press series which surveys various aspects of Canadian literary culture, offers a scholarly overview of its topic. Written by two professors at the University of Guelph who have an ongoing concern for Canadian theatre, the book claims to be the first comprehensive work to draw together a history of our nation’s anglophone theatre and an assessment of its drama. Though there’s little doubt that dramatic criticism and theatre history are interdependent, Benson and Conolly sometimes go on seeming tangents in their literary discussions, especially given the confines of a slim volume (114 pages of text, followed by a selected bibliography and index).
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Hill, Lynda. "New Voices, New Cultural Perspectives in TYA." Canadian Theatre Review 133 (March 2008): 70–75. http://dx.doi.org/10.3138/ctr.133.010.

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The practice of touring professional theatre for young people into schools is between thirty- and thirty-five-years old in English-speaking Canada and has emerged out of the Theatre in Education (TIE) tradition in the United Kingdom, which is more than fifty-years-old. Companies like Green Thumb Theatre, Carousel Players, Quest Theatre, Youth Theatre, Roseneath Theatre and Theatre Direct, the company I lead, have gained the respect of educators and the artistic community for quality productions that use the power of theatre to explore important issues relevant to the lives of children and youth.
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Trussler, Simon. "Theatre Practice, Theatre Studies, and ‘New Theatre Quarterly’." New Theatre Quarterly 1, no. 1 (February 1985): 3–6. http://dx.doi.org/10.1017/s0266464x00001378.

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The original series of Theatre Quarterly ran for ten years and forty issues, from 1971 to 1981. The relaunched journal intends to continue the best traditions of the old, while reflecting the changes that have overtaken the English-speaking theatre in the intervening years. Simon Trussler, who was an editor of the old TQ throughout its existence, here offers some personal reflections on the appearance of New Theatre Quarterly, the present mood of the theatre, and the challenges now facing theatre practitioners and researchers alike. Simon Trussler is also author of over twenty books and monographs on theatre, was drama critic of Tribune from 1966 to 1972, and currently teaches in the Drama Departments of Goldsmiths' College, University of London, and the University of Kent. Clive Barker, his associate editor on TQ since 1978, joins him as co-editor of the new journal. Formerly an actor with Joan Littlewood's Theatre Workshop, and author of the influential guide to actor training Theatre Games, Clive Barker is currently Senior Lecturer in Theatre Studies in the University of Warwick.
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Bogatyrev, Pyotr. "Czech Puppet Theatre and Russian Folk Theatre." TDR/The Drama Review 43, no. 3 (September 1999): 97–114. http://dx.doi.org/10.1162/105420499760347351.

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This key historical and theoretical document connecting Czech and Russian puppet and folk theatres is translated into English for the first time. Bogatyrev opened a whole new area of semiotic studies.
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Chaudhuri, Sukanta. "Shakespeare Comes to Bengal." Multicultural Shakespeare: Translation, Appropriation and Performance 27, no. 42 (November 23, 2023): 31–46. http://dx.doi.org/10.18778/2083-8530.27.03.

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India has the longest engagement with Shakespeare of any non-Western country. In the eastern Indian region of Bengal, contact with Shakespeare began in the eighteenth century. His plays were read and acted in newly established English schools, and performed professionally in new English theatres. A paradigm shift came with the foundation of the Hindu College in Calcutta in 1817. Shakespeare featured largely in this new ‘English education’, taught first by Englishmen and, from the start of the twentieth century, by a distinguished line of Indian scholars. Simultaneously, the Shakespearean model melded with traditional Bengali popular drama to create a new professional urban Bengali theatre. The close interaction between page and stage also evinced a certain tension. The highly indigenized theatre assimilated Shakespeare in a varied synthesis, while academic interest focused increasingly on Shakespeare’s own text. Beyond the theatre and the classroom, Shakespeare reached out to a wider public, largely as a read rather than performed text. He was widely read in translation, most often in prose versions and loose adaptations. His readership extended to women, and to people outside the city who could not visit the theatre. Thus Shakespeare became part of the shared heritage of the entire educated middle class. Bengali literature since the late nineteenth century testifies strongly to this trend, often inducing a comparison with the Sanskrit dramatist Kalidasa. Most importantly, Shakespeare became part of the common currency of cultural and intellectual exchange.
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Frantzen, Allen J. "DRAMA AND DIALOGUE IN OLD ENGLISH POETRY: THE SCENE OF CYNEWULF'SJULIANA." Theatre Survey 48, no. 1 (April 25, 2007): 99–119. http://dx.doi.org/10.1017/s0040557407000385.

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InThe Semiotics of Performance, Marco de Marinis notes that the field of performance studies has greatly expanded the traditional categories of drama and theatre. “It is obvious,” he writes, “that we are dealing with a field that is far broader and more varied than the category consisting exclusively oftraditional stagings of dramatic texts, to which some scholars still restrict the class of theatrical performances.” A few scholars of early theatre history have embraced expanded categories of performance. Jody Enders's “medieval theater of cruelty,” for example, rests on a concept of “atheoryof virtual performance” that translates “into actual medieval dramatic practice.” Carol Symes's study of the “dramatic activity” suggested by medieval French manuscripts identifies “a vital performative element within the surrounding culture.” Both writers have shown how new ideas of performance enlarge the category beyond the “traditional stagings” described by de Marinis.
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Nichols, Glen. "Building Bridges: English & French Theatre in New Brunswick." Theatre Research in Canada 26, no. 1 (May 2005): 1. http://dx.doi.org/10.3138/tric.26.1.4.

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Kohtes, Martin Maria. "Invisible Theatre: Reflections on an Overlooked Form." New Theatre Quarterly 9, no. 33 (February 1993): 85–89. http://dx.doi.org/10.1017/s0266464x00007491.

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The paratheatrical form here described as ‘Invisible Theatre’ has been little investigated by the English-speaking academic world, beyond a nod in the direction of the work of Augusto Boal. In the following article, Martin Maria Kohtes suggests that the silent interlacing of art and life in ‘Invisible Theatre’ has historical and theoretical implications which extend beyond the specifics of ‘theatre for the oppressed’ or ‘guerrilla theatre’, to call into question our understanding of what constitutes the act of theatre itself. In tracing the history of the concept back to the Weimar Republic, Kohtes develops a hypothesis to explain the visibility of ‘Invisible Theatre’ at specific historic moments – and in so doing he hopes also to illuminate for a wider audience some of the ideas and research methods of German Theaterwissenschaft. Martin Maria Kohtes, who presently lives and works in Berlin and Cologne, studied Theatre Arts at the Freie Universität Berlin, at Rutgers University in New Jersey, and at the Université de la Sorbonne Nouvelle in Paris. His study of Guerilla Theater: Theorie und Praxis des amerikanischen Strassentheaters was published by Gunter Narr Verlag, Tübingen, in 1990.
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Demeshchenko, Violeta. "Oriental Motives in the Aesthetics of the New Theater of Gordon Craig." Culturology Ideas, no. 14 (2'2018) (2018): 68–78. http://dx.doi.org/10.37627/2311-9489-14-2018-2.68-78.

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The article is an attempt to rethink the creativity of a well-known English director, artist, screenwriter and journalist Gordon Craig who, in his professional work, preferred the traditions of the Eastern Theatre (China, India, and Japan) and their aesthetics. The director also was fond of the ideas of symbolism, which made it possible to use the forms of figurative poetic and associative thinking effectively in theatrical performances being the means of transferring an emotional idea. The article also reveals the creative stages of the prominent English director Gordon Craig emphasising his theatrical experiments through the prism of oriental art, as well as how the director’s work as a whole influenced the formation of a new aesthetic tradition of the European theatre of the twentieth century. Undoubtedly, in the tradition of oriental art and theatre, Craig sought to borrow those living forms that could serve the creation of a new theatre; traditions verified by time could become a solid foundation for creative experimentation. Craig believed that new independent theatre art could arise only based on innovation, which includes the living knowledge of the theatrical past and the synthesis of all the achievements of European and Eastern culture. Craig’s experiments, conducted in the early twentieth century, his theoretical concepts of spatial construction of a spectacle, a new stage design, acting game and the philosophy of the super-puppets entirely influenced the entire theatre art of the twentieth century.
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Poteet, Susan. "New Play Development in QuebecL: A Matter of Voice." Canadian Theatre Review 46 (March 1986): 28–35. http://dx.doi.org/10.3138/ctr.46.003.

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What is the state of English-language new play development In Quebec? Is this simply another of those questions that haunt Quebeckers without yielding answers? Big ones like, “Is Montreal’s English theatre dying, or is it merely stagnant?” Or, even bigger, “Has the English exodus stopped?” “Will there be an audience in 20 years?” In other words, are we English Quebeckers asking “What’s going to happen to us?” And will the answer determine whether we get on Highway 401 heading west?
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Dissertations / Theses on the topic "New English theatre"

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Ruano, Jessica. "Impressions of 'Newness' in English Canadian Theatre The role of festivals in the consecration and distribution of new work." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28790.

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In English Canadian theatre, there exists a significant divide between established works produced in the mainstream and new work that has traditionally been relegated to the margins of institutional practice. Seeking to bridge this divide are a number of festivals committed to fostering and showcasing plays by Canadian theatre artists and companies and to attracting presenters interested in programming new works for future seasons. In order to succeed in the festival circuit, independent companies must, to a certain extent, cater to the expectations of organizations that value performance that gives the impression of being novel and yet proves accessible to festival audiences and to those targeted by presenters. This plays a role in aesthetics that become characteristic of the companies' work. These aesthetics are not only accepted, but also exploited by festivals that are seeking to legitimize the notion of 'newness', in part, for the purpose of their own sustainability.
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Slagle, Judith Bailey. "The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/718.

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Excerpt: In 1859, the Edinburgh house of Wood and Company published a Sketch of the History of the Edinburgh Th eatre-Royal in honor of its fi nal performance and closing, its author lamenting that “Th is House, which has been a scene of amusement to the citizens of Edinburgh for as long as most of them have lived, has at length come to the termination of its own existence” (3).
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Lublin, Robert I. "Costuming the Shakespearean stage visual codes of representation in early modern theatre and culture /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060614385.

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Thesis (Ph. D.)--Ohio State University, 2004.
Document formatted into pages; contains x, 256 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2005 Aug. 11.
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Williams, Hunter. "Loco por ti : the creation of a new, biblingual musical for young audiences to teach english as a second langauge." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1339.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Theatre
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Ross, Iain Alexander. "The New Hellenism : Oscar Wilde and ancient Greece." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:574a4841-5fb9-4b1f-bd09-6965c9ecef1c.

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I examine Wilde’s Hellenism in terms of the specific texts, editions and institutions through which he encountered ancient Greece. The late-nineteenth-century professionalisation of classical scholarship and the rise of the new science of archaeology from the 1870s onwards endangered the status of antiquity as a textual source of ideal fictions rather than a material object of positivist study. The major theme of my thesis is Wilde’s relationship with archaeology and his efforts to preserve Greece as an imaginative resource and a model for right conduct. From his childhood Wilde had accompanied his father Sir William Wilde on digs around Ireland. Sir William’s ethnological interests led him to posit a common racial origin for Celts and Greeks; thus, for Wilde, to read a Greek text was to intuit native affinity. Chapters 1–3 trace his education, his travels in Greece, his involvement with the founding of the Hellenic Society, and his defence of the archaeologically accurate stage spectaculars of the 1880s, arguing that in his close association with supporters of archaeology such as J.P. Mahaffy and George Macmillan Wilde exemplifies the new kind of Hellenist opposed by Benjamin Jowett and R.C. Jebb. Chapter 4 makes a case for Wilde’s final repudiation of archaeology and his return to the textual remains of Greek antiquity, present as an intertexual resource in his mature works. Thus I examine the role of Aristotle’s Ethics in ‘The Soul of Man Under Socialism’ and of Platonism in the critical dialogues, The Picture of Dorian Gray and ‘The Portrait of Mr W.H.’ I present The Importance of Being Earnest as a self-conscious exercise in the New Comedy of Menander, concluding that Wilde ultimately returned to the anachronistic eclecticism of the Renaissance attitude to ancient texts.
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Goldberg, James Arthur. "Drink Me, or: How I Learned to Stop Worrying and Love the Blog." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2161.

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Language itself is a technology, and the advent of each major technology of language transmission (from the alphabet to the printing press to the Internet) has changed the range of speaker-audience dynamics which are the starting point for all creative writing. In this thesis, a writer, armed only with his blog archives and a smattering of John Tenniel illustrations, guides the curious reader through various issues raised by creative writing in the blog form. Topics discussed include self-presentation, the juxtaposed brevity and expansiveness of online texts, nonlinear reading, alternative models for revision, the literary possibilities of the hyperlink, speaker-audience-time relationships in online settings, the future of ephemerality, the possibility of digital street theatre, and croquet with live balls and sticks. Also discussed are: the end of the world, the Partition of India, the political ramifications of labels replacing folders, my great-aunt's death, Wynton Marsalis, Jewish Vikings, democracy in Kahanistan, Saparmurat Niyazov, Elvis Costello, Sheikh Hasina, and the virtues of walking to church. This thesis also contains several introductions, an acknowledgements page, and more chapters than I care to count. A five-dollar bill may or may not be hidden between the digital pages of this thesis.
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BELLONI, LAURA. "The Ascent of F6 (1937) nel teatro drammatico di W.H. Auden." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/238.

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La tesi indaga l'interazione tra genere drammatico e poetico nei primi anni di attività del poeta inglese W.H. Auden, e procede esaminando i drammi maggiori scritti durante gli anni trenta. Si sofferma su un'opera in particolare, The Ascent of F6, confrontanto la dimensione testuale con quella spettacolare, analizzando il copione originale dello spettacolo usato per la prima del 26 febbraio 1937 e la ricezione della critica. La dissertazione approfondisce il legame tra i due generi letterari soprattutto considerando la coerenza concettuale e di immagini che contraddistingue il pensiero audeniano, e mette in evidenza l'evoluzione della scrittura drammatica seguita in senso cronologico, dalla stesura della prima opera Paid on Both Sides nel 1928, al primo successo con la compagnia londinese del Group Theatre, The Dog Beneath the Skin nel 1935, fino all'ultimo successo nel 1937 scritto in collaborazione con Christopher Isherwood, The Ascent of F6, che segnò il progressivo abbandono del genere drammatico da parte dell'autore. La tesi dà un'amplia prospettiva d'esame considerando non solo la dimensione testuale e indagando il rapporto del testo con il genere tragico, ma evidenziando anche i molteplici rimandi intertestuali e considerando l'efficacia del testo in termini drammatici, ricostruendo lo spettacolo attraverso l'analisi di materiale inedito.
The present study investigates the interplay between poetry and drama in the early works of W.H. Auden, and proceeds in analysing the major plays composed during the 1930s. It focuses on a drama in particular, The Ascent of F6, comparing the textual aspect with the performance outcome, examining the original script used for the premiére on February 26, 1937 and also the response of the critic. The dissertation deepens the connection between poetry and drama considering the conceptual coherence and the unity of images that mark the thought of Auden in the early 30s. Auden's most important dramas are examined following a chronological perspective, from the first draft of Paid on Both Sides, in 1928, to the first success staged by the Group Theatre of London, The Dog Beneath the Skin, 1935, and eventually the last achievement in 1937 written with Christopher Isherwood, The Ascent of F6, which marked the progressive abandonment of the dramatic genre by Auden. The thesis gives an extensive outlook which considers not just the textual aspects of the play, investigating thus the connections with the classic tragedy, but also underlines the various intertextual references and the efficacy of the text in its performing aspects.
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BELLONI, LAURA. "The Ascent of F6 (1937) nel teatro drammatico di W.H. Auden." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/238.

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La tesi indaga l'interazione tra genere drammatico e poetico nei primi anni di attività del poeta inglese W.H. Auden, e procede esaminando i drammi maggiori scritti durante gli anni trenta. Si sofferma su un'opera in particolare, The Ascent of F6, confrontanto la dimensione testuale con quella spettacolare, analizzando il copione originale dello spettacolo usato per la prima del 26 febbraio 1937 e la ricezione della critica. La dissertazione approfondisce il legame tra i due generi letterari soprattutto considerando la coerenza concettuale e di immagini che contraddistingue il pensiero audeniano, e mette in evidenza l'evoluzione della scrittura drammatica seguita in senso cronologico, dalla stesura della prima opera Paid on Both Sides nel 1928, al primo successo con la compagnia londinese del Group Theatre, The Dog Beneath the Skin nel 1935, fino all'ultimo successo nel 1937 scritto in collaborazione con Christopher Isherwood, The Ascent of F6, che segnò il progressivo abbandono del genere drammatico da parte dell'autore. La tesi dà un'amplia prospettiva d'esame considerando non solo la dimensione testuale e indagando il rapporto del testo con il genere tragico, ma evidenziando anche i molteplici rimandi intertestuali e considerando l'efficacia del testo in termini drammatici, ricostruendo lo spettacolo attraverso l'analisi di materiale inedito.
The present study investigates the interplay between poetry and drama in the early works of W.H. Auden, and proceeds in analysing the major plays composed during the 1930s. It focuses on a drama in particular, The Ascent of F6, comparing the textual aspect with the performance outcome, examining the original script used for the premiére on February 26, 1937 and also the response of the critic. The dissertation deepens the connection between poetry and drama considering the conceptual coherence and the unity of images that mark the thought of Auden in the early 30s. Auden's most important dramas are examined following a chronological perspective, from the first draft of Paid on Both Sides, in 1928, to the first success staged by the Group Theatre of London, The Dog Beneath the Skin, 1935, and eventually the last achievement in 1937 written with Christopher Isherwood, The Ascent of F6, which marked the progressive abandonment of the dramatic genre by Auden. The thesis gives an extensive outlook which considers not just the textual aspects of the play, investigating thus the connections with the classic tragedy, but also underlines the various intertextual references and the efficacy of the text in its performing aspects.
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Jefferson, Miranda. "Film learning as aesthetic experience: Dwelling in the house of possibility." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/8587.

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Abstract Drama is an ancient art form and progressive pedagogy in education. It is the collective act of imagining and seeing ourselves in action, in the moment, towards a destiny. Film is a modern art form and an evolving pedagogy in schools. Narratives in moving pictures are a dramatic form of mediated communication. This research concerns drama teachers’ experiences with screen drama and filmmaking pedagogy. In a rapidly digitised world, mediated forms of communication through technology are a vital source of social connectivity, information and storytelling. Information and Communication Technology (ICT) integration in education is a response to the digital culture but the integration has been likened to the ‘hammer in search of a nail’. ICT in education is demanding the development of pedagogies that connect a deep understanding of technology, curriculum outcomes and teacher professional learning. This research is concerned with exploring and developing best practice in a creative and critical pedagogy for moving pictures as aesthetic learning in schools. Drama teachers as teachers of aesthetic, embodied, collaborative and narrative learning are uniquely placed to respond to and critique the development of an authentic and effective pedagogy for film narrative. The school and curriculum structures and resources to support film learning are also examined through the drama teachers’ experiences. The research is praxis-oriented and uses a montage of interpretive practices in a collective case study to explore in depth six teachers’ experience with film learning. The study’s design involves the facilitation of film learning workshops and explores the participants’ aspirations, expectations and realisations for film learning in their schools. The participants’ experiences highlight the problems, possibilities and opportunities of film learning as aesthetic learning and raise issues about the role of and tensions with arts pedagogy as a learning paradigm in schools and the curriculum. The teachers’ stories reflect an educational culture, leadership and curriculum structure that does not necessarily allow, support or develop on-going professional learning and teacher innovation for authentic student learning.
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Williams, Susan Lillian. "Metamorphosis at 'the margin' : Bruce Mason, James K. Baxter, Mervyn Thompson, Renée and Robert Lord, five playwrights who have helped to change the face of New Zealand drama : a thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Palmerston North, New Zealand." 2006. http://hdl.handle.net/10179/1461.

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Drama has been the slowest of the arts to develop an authentic New Zealand 'voice.' This thesis focuses on the work of five playwrights: Bruce Mason, James K. Baxter, Mervyn Thompson, Renée and Robert Lord, all of whom have set out to identify such a 'voice' and in so doing have brought about a metamorphosis in the nature of New Zealand drama. New Zealand has traditionally been regarded as being on 'the margin' in relation to the dominant culture of the colonizer (the Eurocentre). Before Bruce Mason began to challenge this 'centre' of power in the early 1950s, New Zealand playwrights were so intimidated by the Eurocentre that they usually set their plays in Europe, particularly in England, in order to make them acceptable to their audiences. Mason proposed that 'the margin' of New Zealand, rather than being seen as inferior, should be redefined as a fertile place capable of nurturing a new individual dramatic form quite distinct from colonial norms. All of my chosen playwrights have insisted upon the intrinsic value of a two-tiered concept of 'the margin.' By setting their plays (wherever possible) in the country of their birth, highlighting New Zealand social issues and in the process persuading theatre-going audiences that plays about this country are worth watching, they have given new life to 'the margin' (the culture of New Zealand as a whole). At the same time all of these five playwrights have recognized that minority groups - 'voices' from 'the outer margin' in relation to the Pakeha 'inner margin' of power - have been largely unrepresented or misrepresented in New Zealand plays. They have advocated the vital importance of women's 'voices,' Māori 'voices' and gay 'voices,' for example, in their exploration of a more sophisticated and inclusive understanding of what constitutes our national identity. Moreover, in a period of less than forty years, they have helped to facilitate the transition of New Zealand theatre from amateur to professional status and have been instrumental in providing the practical framework whereby future New Zealand playwrights may find an outlet for their work.
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Books on the topic "New English theatre"

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Christopher, Fitz-Simon, Sternlicht Sanford V, and Friel Judy, eds. New plays from the Abbey Theatre. Syracuse, N.Y: Syracuse University Press, 1996.

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Hilton, Della. Christopher Marlowe and the new London theatre. Edinburgh: Pentland Press, 1993.

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author, Maekawa Tomohiro, Sakate Yōji 1962 author, and Nihon Gekisakka Kyōkai, eds. Engeki: Japanese theatre in the new millennium. Tokyo: Japan Playwrights Association, 2016.

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Peacock, D. Keith. Harold Pinter and the new British theatre. Westport, Conn: Greenwood Press, 1997.

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Muller-Wood, Anja. The theatre of civilized excess: New perspectives on Jacobean tragedy. Amsterdam: Rodopi, 2007.

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name, No. New plays from the Abbey Theatre ; vol. 3, 1999-2001. Syracuse, N.Y: Syracuse University Press, 2002.

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Luigi, Pirandello. Pirandello's theatre of living masks: New translations of six major plays. Toronto: University of Toronto Press, 2011.

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Project, WHSTC, and University of Western Ontario, eds. A bibliography in short-title catalog form of 'The New English theatre,' 1776-1777 and re-issues up to 1800. London: University of Western Ontario, 1986.

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Bishop, Tom, Gina Bloom, and Erika T. Lin, eds. Games and Theatre in Shakespeare's England. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723251.

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This collection of essays brings together theories of play and game with theatre and performance to produce new understandings of the history and design of early modern English drama. Through literary analysis and embodied practice, an international team of distinguished scholars examines a wide range of games—from dicing to bowling to roleplaying to videogames—to uncover their fascinating ramifications for the stage in Shakespeare’s era and our own. Foregrounding ludic elements challenges the traditional view of drama as principally mimesis, or imitation, revealing stageplays to be improvisational experiments and participatory explorations into the motive, means, and value of recreation. Delving into both canonical masterpieces and hidden gems, this innovative volume stakes a claim for play as the crucial link between games and early modern theatre, and for the early modern theatre as a critical site for unraveling the continued cultural significance and performative efficacy of gameplay today.
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Charles, Kean, ed. The merchant of Venice: Arranged forpresentation at the Princess's Theatre. Oxford: Pergamon Press, 1985.

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Book chapters on the topic "New English theatre"

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Booth, Roy. "Caroline Theatre." In A New Companion to English Renaissance Literature and Culture, 166–75. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch51.

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Fuchs, Anne. "The New South African Theatre: Beyond Fugard." In Post-Colonial English Drama, 165–80. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22436-4_11.

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Philip, Susan. "The NEP and Vision 2020: Responses from the Malaysian English-Language Theatre." In Reading Malaysian Literature in English, 69–84. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5021-5_5.

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Chothia, Jean. "The New Woman and English Theatre in 1894." In 1894: European Theatre in Turmoil, 27–40. BRILL, 1996. http://dx.doi.org/10.1163/9789004658622_005.

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Griffiths, Trevor R. "Drama and the new theatre companies." In The Cambridge History of Twentieth-Century English Literature, 494–509. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521820776.029.

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"20. New reach for Singapore's English-language theatre." In Debating Singapore, 105–9. ISEAS Publishing, 1994. http://dx.doi.org/10.1355/9789814379519-021.

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Happé, Peter. "Herod's Killing of the Children in New College Chapel Oxford, 8 February 2017 (review)." In Medieval English Theatre 39, 158–59. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787442450.009.

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Balme, Christopher B. "The Aboriginal Theatre of Jack Davis: Prolegomena to a Theory of Syncretic Theatre." In Crisis and Creativity in the New Literatures in English, 401–17. BRILL, 1990. http://dx.doi.org/10.1163/9789004502246_031.

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Bordman, Gerald. "1901–1902." In American Theatre, 480–94. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195037647.003.0033.

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Abstract Coming after such a splendidly hit-filled season, the new theatrical year was perceived as a letdown. “Mediocrity has been the rule” was Theatre’s sad conclusion when June came around. To add to its discouraging assessment, the magazine rued that English playwrights had served the New York stage better than native authors had. Certainly offerings by such major American dramatists as Thomas and Fitch were not up to their best of the previous year, and the only novelty that probably could be revived today without too much trepidation was an English play. Yet the season’s longest runs went almost exclusively to American pieces, suggesting American audiences were increasingly comfortable with native efforts. Even so, they must not have been too comfortable, for the number of long runs was down markedly.
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"Elizabeth Robins, the New Century Theatre and The Stage Society." In English Theatre in Transition 1881-1914, 65–83. Routledge, 2015. http://dx.doi.org/10.4324/9781315677859-10.

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Conference papers on the topic "New English theatre"

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Rockell, Kim. "Noh, Zen and Now." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.4-3.

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As part of the broader research project ‘Linking Japan to the world through the Performing Arts’ [JP20K01193], this paper explores the symbolic worldview evoked by the Japanese Noh theatre, Zen Buddhism, together with a contemporary iteration of Noh, set in cyberspace. This research draws on historical sources, and ethnomusicological perspectives gained through firsthand experience in learning to perform traditional Noh in Japan, and in producing contemporary, educational English language Noh-style plays in Fukushima and Tokyo between 2018–2021. I consider the complex semiotic resources combined in Noh as semiotic clusters (SC), to understand how such signs of imagination, identity, and experience connect people to their lifeworlds (Turino 1999). Concurrently, an English language production of Noh in cyberspace also points towards more dystopian aspects of the digital turn, exacerbated during COVID-19, such as sensorial multimedia floods and resultant ‘technological unconsciousness,’ for which Noh, Zen, and ‘now,’ understood as heightened consciousness in the present, may offer a curative offline alternative in the search for new symbolisms in a contemporary Asia.
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Fortin, Moira. "Practice as Research a collective form of activism from a South American perspective." In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.202.

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As a Chilean living in Aotearoa/ New Zealand I am constantly looking to Latin and South America. Living in the diaspora has allowed me to examine and reflect upon the different socio-political issues arising in the region from afar and with perspective. As an actress and researcher, I am on an ongoing exploration considering how to share research projects from a creative activist standpoint, moving beyond traditional academic research publications into forms that are situated and accessed in the exchanges of everyday relationships and resistance. Written academic outputs are primarily intended for reading, although some contain images or photographs that complement and / or enrich the verbal content. These outputs tend to reach a small portion of the population, the highly educated elite with economic means to access books and participate in conferences or symposiums. Practice as research emerges from a rigorous process of research, critical analysis, and embodied distillation of academic texts. Practice as research relates to my aim to share research not only with wider audiences reaching communities with different cultural and linguistic backgrounds. It also relates to my intention to create work that could resonate outwards, across borders and boundaries, transferring content from one format to another, from the academic world to a medium of expression such as theatre, illustration, dance and/or digital. The concept of transposition emphasizes the creative process that operates in the transition from one medium to another, it “designates the idea of ​​transference, but also that of transplantation, of putting something in another place, of removing certain models, but thinking of another register or system” (Wolf, 2001, p. 16). The transposition process creates a new object, precisely from other languages, cultural contexts, and disciplinary formats (Wolf, 2001). The idea of ​​transmedia transformation certainly applies to my way of finding spaces to share research. Working across languages, Spanish, English, German and French has enabled me to work collectively and in collaboration with other artists, researchers, and activists. These collective actions have been produced through different media and artistic languages where each of us bring our specific artistic experiences, aesthetic incarnations, and gender experiences to inform our research practices.
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Reports on the topic "New English theatre"

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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