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Journal articles on the topic 'New English theatre'
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1
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).
2
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.
3
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.
4
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.
6
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.
7
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.
9
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.
10
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?
11
Yang, Juan. "English Drama Performance in Early Childhood Education." International Journal of Education and Humanities 10, no. 3 (September 21, 2023): 78–82. http://dx.doi.org/10.54097/ijeh.v10i3.12102.
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English theatre performance is a curriculum that combines two disciplines, language and art, and because of the comprehensive ability it cultivates in the learning process and the unique form of presentation, it has been found in practice that the education of young children at this special period of time can see a significant increase in the learners, which is beneficial to the growth and progress of young children in all aspects. As a new and niche educational mode, English theatre performance has been applied for a certain period of time so far, but the age group of the audience is mostly concentrated in primary, junior and senior high school, and in recent years, some educators have applied it in undergraduate courses, but there are not yet any research reports or theoretical elaborations on its application in early childhood, and the educational system and system of English theatre performance are not yet perfect. In this paper, we will analyse the efficacy and role of English theatre performance in early childhood education from the perspective of special educational needs in early childhood, and give a more comprehensive account of the establishment of English theatre performance in early childhood education, as well as its practical approach and theoretical support. It is hoped that it can provide some models and methods for practitioners in early childhood education, so that they can get more help and inspiration in the exploration of early childhood education.
12
Drennan, Barbara. "Theatre History-Telling: New Historiography, Logic and the Other Canadian Tradition." Theatre Research in Canada 13, no. 1 (January 1992): 46–62. http://dx.doi.org/10.3138/tric.13.1.46.
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A proliferation of sign-posts' dot the landscape of our contemporary discourse: 'postmodernism,' 'poststructuralism,' 'postcolonialism,' 'postindustrial'.... As we wearily anticipate yet another 'post' on the horizon, it becomes clear that what theatre researchers are experiencing is a significant epistemological shift which reflects a changing reality. Any change in the philosophy of knowledge will have a bearing on Theatre Historiography in Canada as elsewhere. This essay addresses this issue and outlines an 'other' theatre historiography which weaves the theories of Harold Innis and Marshall McLuhan into Michel Foucault's search for the 'rules of discourse' and Julia Kristeva's 'poetic-logic.' This exploration for historical discovery into English-Canadian theatrical discourse is mapped in relation to Alan Filewod's articulation of collective creation as a theatre-making process.
13
Whybrow, Nicolas. "Young People's Theatre and the New Ideology of State Education." New Theatre Quarterly 10, no. 39 (August 1994): 267–80. http://dx.doi.org/10.1017/s0266464x00000579.
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In NTQ38 (May 1994) Nicolas Whybrow offered a brief account of the immediate threat facing theatre in education (TIE) in England and Wales. In the first of two articles in which he examines the general state of theatre produced for both the formal and the informal education sectors, he goes on to provide a more searching contextualization of some of the changes now taking place. Here, he analyzes the implications for TIE of the Education Reform Act of 1988, and the effect of Youth Service policies on theatre for youth work. Nicolas Whybrow recently completed a PhD based on the practices of Red Ladder, Blah Blah Blah, and Leeds TIE, and is about to take up a lecturing appointment at the Workshop Theatre (School of English), Leeds University.
14
Hauck, Gerhard. "Redrawing The Drawer Boy." Canadian Theatre Review 108 (October 2001): 29–34. http://dx.doi.org/10.3138/ctr.108.005.
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Everybody loves a success story, and in Canadian theatre they don’t come much bigger than Michael Healey’s The Drawer Boy. Within a mere two years of its first presentation at Toronto’s Theatre Passe Muraille, and twenty-nine years after Paul Thompson’s seminal The Farm Show (from which it drew its life), The Drawer Boy has been staged at more than twenty theatres across Canada in a dozen original productions; won its author the 1999 Dora, Chalmers and Governor General’s Awards; received three professional productions in Toronto alone, including a six-week, eighty-nine per cent capacity run at the 1,000-seat Winter Garden Theatre; been produced with a star-studded cast by the famed Steppenwolf Theatre in Chicago; and met with standing ovations wherever it was staged. In addition, another co-production this fall will take the play to the National Arts Centre, the Vancouver Playhouse, the Edmonton Citadel and Hamilton’s Aquarius Theatre; Michael Healey himself will direct the play at Vienna’s legendary English Theatre (where works by the likes of Tennessee Williams and Edward Albee received world premieres); discussions are underway to render the play for the big screen; and, finally, there is enough pent-up demand for the play from many American regional theatres, theatres across Britain and Australia and from amateur theatres worldwide to provide Healey with a handsome residual income for a very long time. While Michael Healey seems to take his success in stride – “It’s made me less grumpy” and “I think my new Jetta is a little too big for me, I may replace it with a Golf” (Healey, personal interview)1 – how good are we, collectively, as a young theatre culture at handling “our own” successes, especially when they are reproduced throughout the continent? How well do we respond to these re-productions, as both participating artists and critics, and what are some of the issues which concern us with re-productions staged in a context that is not our own?
15
Zheng, Sisi, and Adam Cziboly. "What can the translation of key terms reveal about understandings of drama education in China?" Applied Theatre Research 10, no. 2 (December 1, 2022): 119–40. http://dx.doi.org/10.1386/atr_00066_1.
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Based on the authors’ previous academic exchange and observations, translation of terms related to drama and theatre from English to Chinese and vice versa is likely to cause misunderstandings. This research investigated what the translation of key terms may reveal about the understandings of drama education in China. Through a desk research, we collected key terms primarily related to drama and theatre from 26 seminal English and Norwegian books in the field of drama education and their Chinese translations, sorting out and comparing the English/Norwegian originals and the Chinese translations of each term. Findings confirmed that the same Chinese expressions had been used for completely different drama-related terms, while applied theatre-related terms may be misleading as the translation may refer to theatre architectures. Elaborating on the understanding of drama and theatre in China and the new drama praxis, the Drama Etudes, this study discusses what the term ‘drama education’ may refer to in the Chinese context. The overall aim of this study is to contribute to an extended understanding of drama education and its relevant praxis in a global context.
16
Sophia Li, Chi-fang. "Thomas Dekker Revealed in the Henslowe–Alleyn Papers." New Theatre Quarterly 34, no. 1 (January 10, 2018): 16–34. http://dx.doi.org/10.1017/s0266464x17000653.
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In current scholarship the obscurity of the early years of Thomas Dekker is akin to his opacity in Philip Henslowe's Diary, which awaits full analytical interpretation. While the Diary usefully tells us about Henslowe's theatre business, it also imparts interwoven stories about many playwrights whose works are being rigorously tested in today's theatres. In this essay Chi-fang Sophia Li offers a theatre-based critique of the early life of Dekker, when, she argues, he quickly became a ‘fully paid-up member’ of the theatrical community. Thus his theatrical strengths, productive potential, writing interests, collaborative patterns, earning power, and working relationships with Michael Drayton, Anthony Munday, and Henry Chettle can be interpreted afresh. The Diary supplies frequent, intensive sightings of Dekker, whose biographical implications mutually inform a cultural life of Dekker's peers. This is the first attempt to elucidate in full Dekker's presence in the Henslowe–Alleyn papers alongside other historical and literary documents. Chi-fang Sophia Li is Associate Professor in the Department of Foreign Languages and Literature at National Sun Yat-sen University in Taiwan. She has published in Shakespeare Bulletin, Notes and Queries, English Studies, New Theatre Quarterly, and in Chinese in Review of English and American Literature. She gave public lectures for the anniversaries of Shakespeare's birth and death for the Globe Theatre on tour to Taiwan in 2014 and for the Shakespeare Exhibition in 2015 for the National Museum of Taiwan Literature and the Shakespeare Birthplace Trust.
17
Minton, Gretchen E., and Mikey Gray. "The Ecological Resonance of Imogen’s Journey in Montana’s Parks." New Theatre Quarterly 38, no. 4 (October 18, 2022): 299–318. http://dx.doi.org/10.1017/s0266464x22000227.
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In this article Gretchen Minton and Mikey Gray discuss an adaptation of Shakespeare’s tragicomedy Cymbeline that toured Montana and surrounding states in the summer of 2021. Minton’s sections describe the eco-feminist aims of this production, which was part of an international project called ‘Cymbeline in the Anthropocene’, showing how the costumes, set design, and especially the emphasis upon the female characters created generative ways of thinking about the relationship between the human and the more-than-human worlds. Gray’s first-person narrative at the end of each section reflects upon her role of Imogen as she participated in an extensive summer tour across the Intermountain West and engaged with audience members about their own relationship to both theatre and the natural world. This is a story of transformation through environmentally inflected Shakespeare performance during the time of a global pandemic.Gretchen E. Minton is Professor of English at Montana State University, Bozeman, and editor of several early modern plays, including Timon of Athens, Troilus and Cressida, Twelfth Night, and The Revenger’s Tragedy. She is the dramaturg and script adaptor for Montana Shakespeare in the Parks and the co-founder of Montana InSite Theatre. Her directorial projects include A Doll’s House, Timon of Anaconda (see NTQ 145, February 2021), Shakespeare’s Walking Story, and Shakespeare for the Birds. Mikey Gray received her BA in Theatre and Performance from Bard College, New York, with a conservatory semester at NIDA (National Institute of Dramatic Art) in Sydney. She has performed in four productions with Montana Shakespeare in the Parks, while other actor engagements include Chicago Shakespeare Theater, American Conservatory Theater, Strawdog Theater Company, The Passage Theatre, and McCarter Theatre Center.
18
Ballet, Arthur H. "After-Dinner Thoughts of America's Oldest Living Dramaturg." New Theatre Quarterly 10, no. 37 (February 1994): 24–27. http://dx.doi.org/10.1017/s0266464x00000051.
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Arthur Ballet was a dramaturg in America before the English-language theatre really knew that such a theatrical functionary had long been leading a curious backstairs life in the theatres of central Europe. He directed and taught theatre at the University of Minneapolis for many years until, in 1961, he became Director there of the grandly-entitled Office for Advanced Drama Research – in which capacity he not only gave unstintingly of time and advice to hundreds of aspirant playwrights, but guided their work towards likely outlets, and selected and edited no fewer than thirteen volumes of new work in the Playwrights for Tomorrow series. He was also a regular dramaturg for the O'Neill Playwrights' Conference, and later served in that role at the Guthrie Theatre. During the Carter years Arthur Ballet was director of the theatre programme for the National Endowment for the Arts. In 1975 he became an advisory editor of Theatre Quarterly, as he has been of NTQ from our first issue. What follows is an after-dinner speech made to an association whose very existence would have seemed an improbability just a few decades ago – the Literary Managers and Dramaturgs of the Americas, to whom he here addresses some words of practical advice and cautionary wisdom.
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Richardson, John M. "“Such Tweet Sorrow”: The Explosive Impact of New Literacies on Adolescent Responses to Live Theatre." Language and Literacy 13, no. 1 (May 3, 2011): 98. http://dx.doi.org/10.20360/g2v881.
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Trips to the theatre are a regular feature of many high school language arts programs, and yet the experience of watching a play is often significantly different for a teacher than it is for a student. Placing “theatre literacy” within the context of the New London Group’s definition of multiliteracies, and drawing on the work of Lankshear and Knobel as well as audience studies theorists, this article compares how a 17 year-old girl and a 43 year-old English teacher respond to a series of plays, and considers how growing up in a wireless world shapes adolescents’ understanding of live theatre.
20
Vaze, Bageshree. "South Asian Theatre in Toronto." Canadian Theatre Review 94 (March 1998): 10–13. http://dx.doi.org/10.3138/ctr.94.002.
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For most aspiring thespians in Canada, Toronto is the place to be. Montreal may be home to the National Theatre School, but Toronto is where artists flock for work. Boasting more than 10 000 live shows in the past year, Canada’s most populous city is the third largest theatre centre in the English-speaking world, after New York and London.
21
Jacobs, Elizabeth. "Shadow of a Man: a Chicana/Latina Drama as Embodied Feminist Practice." New Theatre Quarterly 31, no. 1 (January 30, 2015): 49–58. http://dx.doi.org/10.1017/s0266464x15000056.
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One of the most important influences on the development of Cherríe Moraga's feminist theatre was undoubtedly the work of Maria Irene Fornes, the Cuban American playwright and director. Moraga wrote the first drafts of her second play Shadow of a Man while on Fornes's residency programme at the INTAR Hispanic Playwrights-in-Residence Laboratory in New York, and later Fornes directed the premiere at the Brava-Eureka Theatre in San Francisco (1990). The play radically restages the Chicana body through an exploration of the sexual and gendered politics of the family. Much has been written on how the family has traditionally been the stronghold of Chicana/o culture, but Shadow of a Man stages one of its most powerful criticisms, revealing how the complex kinship structures often mask male violence and sexual abuse. Using archival material and a range of critical studies, in this article Elizabeth Jacobs explores Moraga's theatre as an embodied feminist practice and as a means to displace the entrenched ideology of the family. An earlier version of this article was presented at the Department of English and Creative Writing, Aberystwyth University, as part of the 2014 International Women's Day events. Elizabeth Jacobs is the author of Mexican American Literature: the Politics of Identity (Routledge, 2006). Her articles have appeared in Comparative American Studies (2012), Journal of Adaptation and Film Studies (2009), Theatres of Thought: Theatre, Performance, and Philosophy (2008), and New Theatre Quarterly (2007). She works at Aberystwyth University.
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Thorp, Jennifer. "Dance in Opera in London, 1673–1685." Dance Research 33, no. 2 (November 2015): 93–123. http://dx.doi.org/10.3366/drs.2015.0134.
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This article looks at the extent to which French styles of theatrical dancing influenced opera in London during the years 1673–1685. In the 1670s the emergence of opera in London owed much to Stuart Court culture and its interest in French ballets de cour and English masques. Meanwhile on the London stage in the 1670s, English theatrical dance was now enhanced by the ability of the Duke of York's new theatre at Dorset Garden to offer the sort of spectacular staging already known in Paris and which suited opera so well. These influences – the love of French music and dancing as balanced by the continued interest in vernacular theatre and its new capacity for spectacle – resulted in an English approach to opera in which the dancing and scenography rarely remained completely French or completely English. This article considers opera dancing in London, from the addition of dance to a reworked Shakespeare play in 1673, followed the next year by the first opera sung in French to be staged in London, and the sometimes hybrid applications of English and French dance in opera thereafter. That the fascination with French opera had diminished after 1685 is reinforced by the unsuccessful attempt to stage one of Lully's tragédies-en-musique in a London theatre the following year.
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Monterrey, Tomas. "Dramaturgy and the Plausible Wonder in Restoration Fiction, 1660–1670." Revista Alicantina de Estudios Ingleses, no. 38 (January 30, 2023): 113. http://dx.doi.org/10.14198/raei.2023.38.07.
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Mackenzie’s roman-à-clef Aretina (1660) seems to foresee or, indeed, to capture the reopening of theatres when, at the end of Book 1, a group of actors present a monster (and a show) “upon a stage, whereon the Commedians used to act,” and the narrator subsequently summarises the performance taking place on the palace’s neglected stage. Nevertheless, the reopening of theatres had little or no immediate influence on the new English prose fiction published in the 1660s. As far as prose fiction is concerned, scholarly criticism about the Restoration theatre–novel interface addresses the period after—not before—1670. Yet, if areas of intersection are investigated, then a spectrum of quite different, isolated instances will emerge; from Margaret Cavendish’s remarks on her contemporary plays to events inspired by theatrical contrivances. This article therefore seeks to explore the presence of theatre and dramaturgy in the new English fiction published in the early years of the Restoration. The first part offers a comprehensive survey of theatrical thumbprints in this corpus of texts by considering the issues raised in literary criticism on the topic, such as dialogues, epistles and soliloquies, historical novels and first-person narratives. The second part pinpoints the episodes in high romances where wonder is no longer caused by magic, enchantment or any other supernatural intervention, but arises from calculated staging effects and devices. Authors of romances in the early years of the Restoration period contributed to the development of the English novel by making the moments of wonder more spectacular for characters, and more credible for readers, in line with the emerging scientific culture.
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Solankhi, Ruchi. "THE PROPERTY OF AN ADVANCED MANLINESS: A FEMININE FELLA IN THE DRAMA." International Journal of Social Sciences & Economic Environment 3, no. 2 (December 30, 2018): 15–22. http://dx.doi.org/10.53882/ijssee.2018.0302003.
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Feminine Man in Indian English Theatre is the subject of this paper as a new location for gender politics. Society develops gender assumptions based on how men and women behave in a cultural environment. Many detractors argue that gender is a social construct, whereas sex is biology. Since the start of civilization, each epoch has had its own distinct vision of what it means to be a man. Masculinity in today's society is defined in a broad sense. Feminine Man is a result of today's masculinity. In modern Indian English theatre, the 'invisible' issue of gender identity is revealed. Mahesh Dattani's comedy Dance Like a Man is about masculinity. Jairaj Parekh, the protagonist of India's new age theatre, represents and emphasises this Feminine Man tendency, which is influenced by social circumstances in some way. Keywords: India, sociological phenomena, play, staging, protagonist
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Nichols, Glen. "Contemporary Acadian Theatre in New Brunswick." Canadian Theatre Review 128 (September 2006): 41–46. http://dx.doi.org/10.3138/ctr.128.009.
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From Antonine Maillet’s canonical La Sagouine (Les Feux Chalins, 1971) to Emma Haché’s postmodern Murmures, produced by Théâtre populaire d’Acadie (TPA) in the winter of 2006, contemporary Acadian theatre has matured and developed a sense of itself in an interrelationship with the community that is both complex and dynamic. While playwrights like Haché or Herménégilde Chiasson continue to explore aspects of Acadian history, their plays like Murmures or Pour une fois (l’Escaouette 1999–2004) interrogate the assumptions of that history and of the Acadian nationalism that has been so closely allied with a mythologized past. In the relatively short span of time since Louis J. Robichaud became the first Acadian premier of New Brunswick in 1960 and subsequently instituted a number of measures in education, language equality and economic structures that rebalanced the relationship between English and French communities in the province, cultural and identitary assertiveness of the Acadian renaissance (or “miracle” – both metaphors are heard) has seen Acadie and Acadians develop from being significantly disadvantaged to asserting economic, political and cultural power. From the earliest years, theatre has played a role in the construction of this identity, and an examination of the situation of contemporary theatre in Acadie1 in New Brunswick will make it clear that both theatre and society have moved beyond traditional nationalist narratives.
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Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (January 5, 2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.
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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scottish, and American) playwriting, however modishly its characters may now be drawn from the underclass rather than the upper; and he identifies a ‘hunger for ideas’ among British audiences which is ill-satisfied by the dystopian despair of many would-be political dramatists.
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Prykowska-Michalak, Karolina, and Izabela Grabarczyk. "“English with a Polish Accent and a Slight Touch of Irish”: Multilingualism in Polish Migrant Theatre." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 298–316. http://dx.doi.org/10.18778/2083-2931.13.16.
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Issues of migration writing (see Kosmalska) and migrant theatre have recently gained prominence, leading to an increase in research focused on analyzing the theatrical works of artists with a migrant background. This phenomenon is part of a broader trend in intercultural and, often, postcolonial studies. Contemporary Polish migrant theatre is a subject that has not been thoroughly explored yet. Among many methods applied in the study of migrant theatre, intercultural studies or the so-called new interculturalism take the lead. These concepts draw on bilingualism or multilingualism practices, which are slowly taking a more significant role in migrant theatre studies. This article analyzes two theatre plays staged by Polish migrants in Ireland and in the United Kingdom in the context of linguistic practices that exemplify and help define the concept of transnational drama.
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Wozniak, Heather Anne. "THE PLAY WITH A PAST: ARTHUR WING PINERO'S NEW DRAMA." Victorian Literature and Culture 37, no. 2 (September 2009): 391–409. http://dx.doi.org/10.1017/s1060150309090251.
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In the late Victorian period, when writers, critics, and actors of the English theatre became obsessed with defining a decidedly New Drama – with establishing its history, directing its progress forward, and creating a literary drama – the majority of the plays produced focused upon forms of femininity. Strangely, these innovative dramas engaged not with the future, but with an all-too-familiar stock character: the woman with a past. This well-known type was “a lady whose previous conduct, rightly or wrongly, disqualified her from any position of rank or respect” (Rowell 108–09). Familiar examples of such plays include George Bernard Shaw's Mrs. Warren's Profession (1893) and Oscar Wilde's Lady Windermere's Fan (1892); lesser-known ones include Henry Arthur Jones's Case of Rebellious Susan (1894) and two plays that form the focus of this essay, Arthur Wing Pinero's The Second Mrs. Tanqueray (1893) and The Notorious Mrs. Ebbsmith (1895). Several English theatre historians (including Richard Dietrich and Jean Chothia) present these plays as the basis of modern intellectual drama, yet none explains the paradox that the theatre of modernity is founded upon the woman with a past, a figure whose future in these plays is foreclosed or ambivalently conceptualized at best.
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Trussler, Simon. "English Acting, Interactive Technology, and the Elusive Quality of Englishness." New Theatre Quarterly 12, no. 45 (February 1996): 3–5. http://dx.doi.org/10.1017/s0266464x0000957x.
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Acting style is arguably the most elusive of the theatre's always ephemeral traces – not least because each generation, while proclaiming its own actors to be more ‘natural’ than their predecessors, has tended in its criticism, as in actors' memoirs, to take style as a ‘given’. Anecdotage and plot synopsis have accordingly taken precedence over analysis of how performers actually worked and appeared on stage – let alone prepared their performances. Here, Simon Trussler introduces a project being launched at Goldsmiths, University of London, where he is Reader in Drama, to utilize the immense storage capacity of the CD-ROM both to record the evidence, verbal and pictorial, that has come down to us from the past, and to assess its relevance to present approaches to acting and to the playing of the classical repertoire. Specifically, the project aims to explore the ways in which the national identity – the quality of ‘Englishness’ – has been both reflected in and influenced by the ways in which it has been rendered on stage. In the succeeding article, Nesta Jones outlines the history and development of the English acting tradition, and some of the issues its consideration raises in relation to the Goldsmiths project. Simon Trussler was one of the founding editors of the original Theatre Quarterly in 1971, and has been co-editor of New Theatre Quarterly since its inception. The most recent of his many books on theatre and drama, The Cambridge Illustrated History of British Theatre, was runner-up for the 1994 George Freedley Award of the Theatre Libraries Association, being cited as ‘an outstanding contribution to the literature of the theatre’.
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Munday, Jenny. "1 The Comedy Asylum." Canadian Theatre Review 48 (September 1986): 26–31. http://dx.doi.org/10.3138/ctr.48.006.
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The Comedy Asylum began in 1982 when Lou Roelofsen, then manager of the Wandlyn Inn In Fredericton, decided to present dinner theatre in order to promote the hotel during the traditionally slow winter season. He got together with Marshall Button and Michael McHugh, and the great Comedy Asylum dinner theatre experiment began. At that time there was nothing like it in Fredericton. Apart from several good amateur groups throughout the province, the only English-language theatre in New Brunswick was Theatre New Brunswick. Lou believed not only that dinner theatre was commercially viable, but also that there was an audience hungry for an alternative form of entertainment in the province. So did we, and we were to be proven right, despite the fact that starting something new in New Brunswick is never easy. Things take a while to catch on and theatre is a rather sacred institution. Although TNB has managed to widen its audience over the years and to fulfill what I believe is part of its mandate - to take theatre “to the people” - the tendency of the general public to think of theatre as elitist persists. The Comedy Asylum offered a small-scale alternative that was both popular and populist.
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Kahre, Andreas. "Moving the Furniture." Canadian Theatre Review 129 (January 2007): 10–14. http://dx.doi.org/10.3138/ctr.129.001.
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Peter Hinton is one of English Canada’s most respected playwrights, directors and dramaturges. In his twenty-year career, he has been an integral part of the Canadian theatre landscape, working as an Associate Artist of the Stratford Festival of Canada, Associate Director and Dramaturge at Theatre Passe Muraille, Associate Director and Head of the New Play Development Program at the Canadian Stage Company in Toronto, Artistic Director and Dramaturge of the Playwrights Theatre Centre in Vancouver and Dramaturge in Residence at Playwrights’ Workshop Montreal. He is passionate about Canadian theatre and is proud to have developed new works by John Mighton, Guillermo Verdecchia, Marie Clements, Larry Tremblay, Blake Brooker, Normand Chaurette, Maristella Roca, Allen Cole and Greg MacArthur to name a few.
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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.
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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.
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McIntyre, John Alexander. "New Education beyond the school: Rosemarie Benjamin’s Theatre for Children, 1937-1957." History of Education Review 47, no. 2 (October 1, 2018): 217–28. http://dx.doi.org/10.1108/her-11-2017-0021.
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Purpose The purpose of this paper is to examine the work of Rosemary Benjamin’s Theatre for Children in Sydney as a compelling narrative of the New Education in Australia in the late 1930s, an historical moment when theatre for children emerged as a cultural experiment rich in educational ideas. Design/methodology/approach Contemporary sources and archival records are explored through several interpretive frames to develop a historical account of Benjamin’s Theatre for Children from 1937 to 1957. Findings Benjamin’s concept of children’s theatre was shaped by English progressive education as much as the Soviet model she extolled. She pursued her project in Sydney from 1937 because she found there a convivial European emigré community who encouraged her enterprise. They understood her Freudian ideas, which commended the use of the symbolic resources of myth and fairy tales to help children deal with difficult unconscious material. Benjamin also analysed audience reactions applying child study principles, evidence of the influence of Susan Isaacs and the New Education Fellowship. More successful as a Publicist than a Producer, Benjamin was able to mobilise support for her educational cause among performers, parents, cultural figures and educational authorities. Her contribution was to pave the way for those who would succeed with different models of theatre for children. Originality/value This is the first study to employ archival sources to document the history of the Theatre for Children, Sydney and address its neglect as a theatre project combining educational and theatrical values.
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RAE, PAUL. "Editorial: Joining the Conversation." Theatre Research International 41, no. 3 (October 2016): 197–201. http://dx.doi.org/10.1017/s0307883316000389.
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In my previous editorial, I made reference to what Theresa Lillis and Mary Jane Curry call ‘literacy brokering’ amongst non-native speakers of English who seek to publish in anglophone academic journals. The term ‘literacy’ makes sense in the context, and, as I noted, the practice is hardly exclusive to those whose first language is not English. However, as Aoife Monks of Contemporary Theatre Review and I planned a New Scholars session on academic publishing for this year's annual conference of the International Federation for Theatre Research (IFTR, with which this journal is affiliated), a supplementary way of thinking about academic knowledge production came to mind: as conversation. And it is a conversational mode that wends its way through the articles presented in this issue of Theatre Research International.
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Loney, Glenn. "Talking to Carlos Gimenez, Creator of the Rajatabla in Caracas." New Theatre Quarterly 2, no. 7 (August 1986): 243–49. http://dx.doi.org/10.1017/s0266464x00002219.
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knowledge of the theatre of South America tends to be shamefully scanty in the English-speaking world: yet the forces of rapid political change, both revolutionary and repressive, often provoke innovative theatrical responses. NTQ intends to pursue the study of theatre in this huge continent. The following interview was conducted by Glenn Loney with the young director Carlos Gimenez – a refugee from Argentina presently working with his Rajatabla troupe in Caracas, Venezuela – whose production of Bolivar was brought to the Public Theatre in New York last summer, with a return visit planned to include The Death of Garcia Lorca, both discussed in the following conversation. Glenn Loney is a widely published American drama critic, teacher, and writer, presently teaching on the doctoral theatre programme of the City University of New York, and working on the American volume in the Documents of Theatre History series for publication by Cambridge University Press.
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Holland, Peter. "The Play of Eros: Paradoxes of Gender in English Pantomime." New Theatre Quarterly 13, no. 51 (August 1997): 195–204. http://dx.doi.org/10.1017/s0266464x00011209.
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Christmas pantomime, that peculiarly English form whose uncertain origins go back to the early eighteenth century, has evolved its own distinctive typology of cross-dressed characters, with a Principal Boy who is a girl, a Dame who is indisputably male, and even those humanoid visitors from the animal kingdom known as ‘skin parts’. David Mayer explored ‘The Sexuality of English Pantomime’ in the seminal ‘People's Theatre’ issue of the original Theatre Quarterly (TQ4, 1974), and twenty years on Peter Holland takes up the debate in the light of recent developments in sexual politics, critical approaches to gender – and, not least, the continuing and not always expected evolution of what remains a very live form indeed. Peter Holland is about to move from his present post as Judith E. Wilson Reader in Drama and Theatre in the Faculty of English at Cambridge to become the new Director of the Shakespeare Institute in Stratford. An earlier version of his present article was presented as a paper at the conference on ‘Eros e commedia sulla scena inglese’, at the Terza Università in Rome in December 1995.
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Fischer-Lichte, Erika. "Interweaving Cultures in Performance: Different States of Being In-Between." New Theatre Quarterly 25, no. 4 (November 2009): 391–401. http://dx.doi.org/10.1017/s0266464x09000670.
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In this article Erika Fischer-Lichte argues that, since the beginning of the twentieth century, in different parts of the world, modern theatre was invented by way of interweaving cultures in performance. Different examples from the early twentieth century and the 1990s show how theatre acted as a laboratory for testing and experiencing the potential of cultural diversity. An innovative performance aesthetics enabled the exploration of the emergence, stabilization, and destabilization of cultural identity, merging aesthetics with politics. Erika Fischer-Lichte is Professor of Theatre Studies at the Freie Universität in Berlin. She has published widely in the fields of the theory and history of the theatre, and is the author of numerous books, including, in English, Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre (2005) and The Transformative Power of Performance: a New Aesthetics (2008). In 2008 she established a new research programme, ‘Interweaving Cultures in Performance’, at the Freie Universität. This paper was given as a keynote lecture at the fourteenth Performance Studies International conference, ‘Interregnum: In Between States’, in Copenhagen, 20–24 August 2008.
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He, Chengzhou. "‘The Most Traditional and the Most Pioneering’: New Concept Kun Opera." New Theatre Quarterly 36, no. 3 (August 2020): 223–36. http://dx.doi.org/10.1017/s0266464x20000469.
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Featuring hybridity, transgression, and improvisation, New Concept Kun Opera refers to experimental performances by Ke Jun and other Kun Opera performers since the beginning of the twenty-first century. From telling the ancient stories to expressing the modern self, this new form marks the awakening of the performer’s subjectivity and develops a contemporary outlook by rebuilding close connections between Kun Opera and modern life. A synthetic use of intermedial resources contributes to its appeal to today’s audiences. Its experimentation succeeds in maintaining the most traditional while exploring the most pioneering, thus providing Kun Opera with the potential for renewal, as well as an alternative future for Chinese opera in general. Chengzhou He is a Yangtze River Distinguished Professor of English and Drama at the School of Foreign Studies and the School of Arts at Nanjing University. He has published widely on Western drama, intercultural theatre, and critical theory in both Chinese and English. Currently, he is the principal investigator for a national key-research project, ‘Theories in European and American Theatre and Performance Studies’.
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MUKHERJEE, MANJARI. "From Classroom to Public Space: Creating a New Theatrical Public Sphere in Early Independent India." Theatre Research International 42, no. 3 (October 2017): 327–32. http://dx.doi.org/10.1017/s0307883317000621.
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Though India declared itself a sovereign nation only in 1947, after two hundred years of British rule, its people had unleashed the processes of ‘Indianization’ well before independence. While addressing the transition from colonial subjecthood to independent citizenship is intricately linked to efforts of decolonization, the role of English-medium education in the creation of a new emergent class of independent Indian citizens often gets overlooked. This essay analyses the immediate impact of independence (1947–50), and locates the educational spaces where Indians (predominantly elite Bengalis) were struggling to unlink citizenship from nationalism and exploring inter-community relationships such as those between the Bengali elite and the micro-minority Jews, Parsis, Armenians and Anglo-Indians. I show how theatre activities by the students of St Xavier's Collegiate School and College, their new roles as potential public intellectuals and citizens of post-independent India and their theatre constituted an important intervention in the new democratic processes. I examine the duality of a Bengali elite who acquired an English-medium education and performed English-style Shakespeare while trying to construct a political dramaturgy as an ensemble or collective.
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Knowles, Ric, and W. B. Worthen. "Shakespeare and Canada: Essays on Production, Translation, and Adaptation." Canadian Theatre Review 121 (January 2005): 86–87. http://dx.doi.org/10.3138/ctr.121.013.
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Ric Knowles’s new book, Shakespeare and Canada – number 8 in the P.I.E.-Peter Lang Dramaturgies: Texts, Cultures and Performances series – is an important collection of essays. Knowles is widely known for his cogent critique of the culture of contemporary Canadian Shakespeare performance. He is also a major figure in the landscape of contemporary Canadian theatre studies; a widely respected reviewer; editor of the Canadian Theatre Review and Modern Drama; author of two searching books on recent Canadian drama, The Theatre of Form and the Production of Meaning and Reading the Material Theatre; and co-editor of Staging Coyote’s Dream: An Anthology of First Nations Drama in English and Modern Drama: Defining the Field. There’s perhaps no one more able to dramatize the critical dialogue between Shakespeare and the forms, moods and shapes of Canadian theatre.
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Bassnett, Susan. "Structuralism and After: Trends and Tendencies in Theatre Analysis, Part One." New Theatre Quarterly 1, no. 1 (February 1985): 79–83. http://dx.doi.org/10.1017/s0266464x00001433.
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Susan Bassnett's ‘Introduction to Theatre Semiotics’ appeared in TQ38 (1980). reflecting in its very title the need to make theatre people of the English-speaking world better aware of approaches to theatre analysis which had been influential on the Continent since the work of the pioneer Czech semioticians of the 'thirties. But, as she now points out. these early workers in the field were themselves theatre practitioners, while more recent approaches have suffered from a tendency to divorce creators of theatre from the process and the vocabulary of analysis. Developing her account from the papers presented at the Conference on Theatre Analysis held last year at the University of Warwick, where she herself teaches in the Department of Comparative Literature. Susan Bassnett here introduces the corrective work of the new generation of continental theatre analysts, and relates their ideas and approaches to the recent decline of energy felt in British (as in most European) theatre, paralleled as it is by a growth in the influence of non-western theatre forms.
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Urban, Eva. "Multilingual Theatre in Brittany: Celtic Enlightenment and Cosmopolitanism." New Theatre Quarterly 34, no. 3 (July 13, 2018): 283–97. http://dx.doi.org/10.1017/s0266464x1800026x.
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In this article Eva Urban describes a historical tradition of Breton enlightenment theatre, and examines in detail two multilingual contemporary plays staged in Brittany: Merc’h an Eog / Merch yr Eog / La Fille du Saumon (2016), an international interceltic co-production by the Breton Teatr Piba and the Theatr Genedlaethol Cymru (the Welsh-language national theatre of Wales); and the Teatr Piba production Tiez Brav A Oa Ganeomp / On avait de jolies maisons (2017). She examines recurring themes about knowledge, enlightenment journeys, and refugees in Brittany in these plays and performances, and presents the argument that they stage cosmopolitan and intercultural philosophical ideas. Eva Urban is Senior Research Fellow at the Senator George J. Mitchell Institute for Global Peace, Security and Justice, Queen's University Belfast. She has held a Région de Bretagne Postdoctoral Research Fellowship at the Centre for Breton and Celtic Studies, University of Rennes 2, a research lectureship in the English Department, University of Rennes 2, and a British Academy Postdoctoral Fellowship at the University of Cambridge. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011) and has published articles in New Theatre Quarterly, Etudes Irlandaises, Caleidoscopio, and chapters in book collections.
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Kladaki, Maria, and Kostantinos Mastrothanasis. "Shakespeare’s Plays at the Royal Theatre in Athens in the Early 20th Century." European Journal of Language and Culture Studies 1, no. 6 (December 19, 2022): 52–58. http://dx.doi.org/10.24018/ejlang.2022.1.6.53.
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In the early 20th century, the idea of creating a state theatre in Greece matured, that was responsible for establishing the foundation of a national dramatic tradition, as well as of the art of histrionics which until that time was characterized by amateurism. The Royal Theatre opened its doors to the public in 1900 and was based on the model of German Court theatres. In other words, theatre was considered a superior form of art that had to be kept away from the lower social classes. The absence of a powerful urban class and the lack of cohesion between the urban class and the lower classes favored the role of the Court, which was influenced by Drama when it comes on shaping its public guise and consolidate its dominance, by ensuring that a specific theatre style, aesthetics and ideology were preserved. Shakespeare’s performances in Greece were based on uncritical copying of practices applied in Europe in the light of the country’s agonizing struggle to build a new national and urban class identity. The audience of the Royal Theatre was seeking its own identity within that phantasmagorical ambience; that is for points of convergence with the western model, so as to receive social recognition and feel self-justified, as participation in such events were classified as “cultured persons”. The theatrical environment itself and the utilization of works of the English poet's works played a role in solidifying the idea in Greece that Shakespeare’s plays are the exclusive privilege of the urban class.
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CALCHI NOVATI, GABRIELLA. "Language under Attack: The Iconoclastic Theatre of Socìetas Raffaello Sanzio." Theatre Research International 34, no. 1 (March 2009): 50–65. http://dx.doi.org/10.1017/s0307883308004239.
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The Italian theatre company Socìetas Raffaello Sanzio, led by Romeo Castellucci, began its passionate incursion into Italian theatre in the 1980s. Through an analysis of their most challenging critical texts and manifestos, as yet unpublished in English, this paper will examine the theoretical foundations of Socìetas Raffaello Sanzio's oeuvre and the profound implications of the iconoclasm of their performances, and propose new means of deciphering their work. During the 1980s the company forged new linguistic and visual theatrical techniques, which were further developed through the 2002–2004 project, Tragedia Endogonidia. I argue that the relevance of their early work lies in their theoretical and practical widening of the parameters of representation. Excerpts from manifestos and texts written by Romeo and Claudia Castellucci, along with critical texts related to their work, are unless otherwise indicated translated into English by the present author.
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Fo, Dario. "Hands off the Mask!" New Theatre Quarterly 5, no. 19 (August 1989): 207–9. http://dx.doi.org/10.1017/s0266464x00003274.
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Dario Fo needs no introduction, though he is less well known for his work as a critical theorist of theatre than in his role as a playwright. The original Theatre Quarterly was the first journal to publish his critical writing in English, and two of his more recent essays-‘Theatre of Situation’ and ‘Retrieving the Past. Exposing the Present’ - appeared in one of the earliest issues of New Theatre Quarterly. NTQ2 (1985). Here, we are pleased to publish Fo's brief but stimulating study of the conventions and the ‘language’ of theatrical masks, in which he outlines typologies stretching from Ancient Greece to commedia and beyond, and suggests some of the distinctive requirements for the contemporary actor of performing in mask. The translation is by Gail Macdonald.
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VERSTRAETE, PIETER. "In Search of a New Performativity after Gezi: On Symbolic Politics and New Dramaturgies in Turkey." Theatre Research International 44, no. 3 (October 2019): 273–90. http://dx.doi.org/10.1017/s0307883319000312.
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This article is an adapted version of a text originally published in Turkish in the historical materialist journal PRAKSIS in 2016, and translated into English by the author.1 It focuses on performative protest acts and the role of the performing artist in Turkey in the context of the Gezi Park uprisings of 2013. The article examines how some of Gezi's performative protest actions evidence a larger cultural transformation, of which we can see a continuation in new theatre playtexts.
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Sierz, Aleks, and Mesut Günenç. "In Interview: Key Features of Contemporary British Drama." New Theatre Quarterly 39, no. 1 (January 30, 2023): 61–68. http://dx.doi.org/10.1017/s0266464x22000379.
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In this interview on 22 March 2022 in London, Mesut Gunenc talks to theatre critic and historian Aleks Sierz about how his work has influenced contemporary British drama, why he chose the name ‘in-yer-face theatre’ for 1990s avant-garde plays, and why some writers have rejected the label. They also discuss the differences between experiential and experimental theatre, especially focusing on the work of Anthony Neilson, and finish by considering the key themes that characterize 1990s new writing in Britain.Aleks Sierz is author of the seminal In-Yer-Face Theatre: British Drama Today (Faber, 2001), as well as of other work about new writing and post-war British theatre history. His more recent books include Rewriting the Nation: British Theatre Today (Methuen Drama, 2011), Modern British Playwriting: The 1990s (Methuen Drama, 2012), and Good Nights Out: A History of Popular British Theatre Since the Second World War (Methuen Drama, 2021). He has co-authored, with Lia Ghilardi, The Time Traveller’s Guide to British Theatre: The First Four Hundred Years (Oberon, 2015). Mesut Gunenc is Assistant Professor in the Department of English Language and Literature at Adnan Menderes University in Turkey. He is the author of Postdramatic Theatrical Signs in Contemporary British Playwrights (Lambert, 2017) and co-editor, with Enes Kavak, of New Readings in British Drama: From the Post-War Period to the Contemporary Era (Peter Lang, 2021). He is currently a visiting postdoctoral scholar at Loughborough University in the UK.
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Ceramella, N. "Lorenzo at ‘The Theatre’ Meeting actors and audience." Voprosy literatury, no. 5 (December 19, 2018): 13–38. http://dx.doi.org/10.31425/0042-8795-2018-5-13-38.
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The article considers two versions of D. H. Lawrence’s essay The Theatre: the one which appeared in the English Review in September 1913 and the other one which Lawrence published in his first travel book Twilight in Italy (1916). The latter, considerably revised and expanded, contains a number of new observations and gives a more detailed account of Lawrence’s ideas.Lawrence brings to life the atmosphere inside and outside the theatre in Gargnano, presenting vividly the social structure of this small northern Italian town. He depicts the theatre as a multi-storey stage, combining the interpretation of the plays by Shakespeare, D’Annunzio and Ibsen with psychological portraits of the actors and a presentation of the spectators and their responses to the plays as distinct social groups.Lawrence’s views on the theatre are contextualised by his insights into cinema and its growing popularity.What makes this research original is the fact that it offers a new perspective, aiming to illustrate the social situation inside and outside the theatre whichLawrenceobserved. The author uses the material that has never been published or discussed before such as the handwritten lists of box-holders in Gargnano Theatre, which was offered to Lawrence and his wife Frieda by Mr. Pietro Comboni, and the photographs of the box-panels that decorated the theatre inLawrence’s time.
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Braun, Edward. "Meyerhold: the Final Act." New Theatre Quarterly 9, no. 33 (February 1993): 3–15. http://dx.doi.org/10.1017/s0266464x00007429.
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The process of rehabilitating the reputation of the great Soviet director Vsevolod Meyerhold began soon after Krushchev's repudiation of Stalinism in 1955. However, it was only with the recent opening of the KGB files on ‘Case No. 537’ that the mystery surrounding the circumstances of his trial and presumed execution was finally resolved. The full story, which combines the horrific torture of an old, sick man with the petty niceties of bureaucratic form-filling, has been gradually unfolding in Russian-language journals over the past three years: and here Edward Braun provides the first detailed account in English of what happened to Meyerhold – and to his wife, the actress Zinaida Raikh – between the liquidation of his theatre in January 1938 and his own liquidation on 2 February 1940. Edward Braun, Professor of Drama in the University of Bristol, edited the pioneering English-language selection from Meyerhold's writings, Meyerhold on Theatre, in 1969, and in 1979 published his major critical assessment, The Theatre of Meyerhold, now in process of revision to incorporate the new material released in recent years. He also contributes to this issue of NTQ a report on the opening of the new Meyerhold Centre in Moscow.
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Wagner, Anton. "Readings in Review." Canadian Theatre Review 46 (March 1986): 110–12. http://dx.doi.org/10.3138/ctr.46.015.
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Professional production opportunities for Canadian playwrights, meagre as they are in most parts of the country, have always been particularly limited in the Atlantic provinces. The region has never enjoyed the profusion of alternate theatre companies which, since the early 70s, have largely created the English-Canadian and Québécois drama we have today. While the more highly subsidized Neptune and Theatre New Brunswick have premiered works by John Gray, Alden Nowlan, and Walter Learning, major writers such as Gray, Michael Cook, and New Brunswick-born Sharon Pollock have made their reputations in other parts of Canada