Relevant bibliographies by topics / Showgirls – new york – drama

Academic literature on the topic 'Showgirls – new york – drama'

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Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Showgirls – new york – drama"

1

Lippit, Akira Mizuta, Noëël Burch, Chon Noriega, Ara Osterweil, Linda Williams, Eric Shaefer, and Jeffrey Sconce. "Round Table: Showgirls." Film Quarterly 56, no. 3 (2003): 32–46. http://dx.doi.org/10.1525/fq.2003.56.3.32.

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As recently as December, 2002, the New York Times' Elvis Mitchell referred to the "wreckage"of Showgirls (1995). Yet the Film Quarterly editorial board had just been galvanized by a discussion of the same film. Apparently there exists a number of secret and not-so-secret devotees of the film. Showgirls has, perhaps unexpectedly, served to stimulate scholarly thought around issues of camp, satire, class, gender, the fallen woman, showgirl musicals, trash cinema,sexploitation films, hedonistic criticism, and reading and teaching the film. Noëël Burch, Akira Mizuta Lippit, Chon Noriega, Ara Osterweil, Eric Schaefer, Jeffrey Sconce, and Linda Williams have contributed to this discussion of the film. Perhaps Showgirls can still be rescued from the wreckage?
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Power, Timothy. "New Music in New York." Greek and Roman Musical Studies 8, no. 1 (March 13, 2020): 200–206. http://dx.doi.org/10.1163/22129758-12341369.

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Abstract The article reviews a production of Euripides’ Herakles mounted by Barnard Columbia Ancient Drama, with an historically informed vocal and aulos score. I discuss aspects of the treatment of music in both the play and the performance, and I assess the production in light of recent approaches to the musical reconstruction of Euripidean tragedy.
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Gamache, L. B. "Robert Kastenbaum. Defining Acts: Aging as Drama. New York: Baywood, 1994." Canadian Journal on Aging / La Revue canadienne du vieillissement 15, no. 3 (1996): 468–70. http://dx.doi.org/10.1017/s0714980800005900.

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RÉSUMÉCe livre se veut un exposé sur l'âge et le vieillissement et sur les relations au sein des générations qui vivent le vieillissement et font face à la mort. L'ensemble semble se présente sous forme de textes de dramaturgic simples accompagnés de commentaires. Le livre comprent un prologue, des commentaires, les textes et un épilogue. Les textes de dramaturgie occupent l'espace principal du livre; toutefois, les autres sections expliquent au lecteur les intentions de l'auteur et soulignent leur utilité en tant qu'instrument éducatif gérontologique ou thanatologique ou exercice psychodramatique. Les textes se concentrent sur des types représentatifs et leurs relations comme personnages plutôt que sur une intrigue. Règle générale, le vieillissement est présenté comme un processus inévitable se produisant chez tous les sujets. Une amélioration des textes pourrait se faire en étoffant leur puissance suggestive et leur caractère humain pour les utiliser sur scène.
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Samuel, Michael. "Contemporary British Television Drama, James Chapman (2020)." Journal of Popular Television 8, no. 3 (October 1, 2020): 371–73. http://dx.doi.org/10.1386/jptv_00036_5.

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

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The centerpiece of Oliver Taplin's recent monograph on Greek drama and South Italian vase-painting is an Apulian bell-krater of the early fourth century in a New York private collection (Plate IV). The vase belongs to the genre conventionally known as phlyax vases, though Taplin would reject that label, since it is the thesis of his book that many, if not most, of these vases reflect Athenian Old Comedy and not an indigenous Italic entertainment, the phlyax play.
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Da Silva Ferreira, Melissa. "O drama como pesquisa." ouvirOUver 16, no. 2 (December 31, 2020): 420–35. http://dx.doi.org/10.14393/ouv-v16n2a2020-54101.

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Neste artigo reflito sobre as possibilidades do drama como fonte de estratégias metodológicas para desenvolver pesquisas com crianças no âmbito das artes cênicas. Por meio da articulação de relatos autobiográficos e análise de experiências, analiso como a participação no projeto “Drama como método de ensino”, conduzido por Beatriz Ângela Cabral nos anos noventa, influencia as minhas práticas no projeto de pós-doutorado “Presenças da Infância na Cena Contemporânea” desenvolvido na Universidade Estadual de Campinas e na City University of New York. Em diálogo com estudiosos do teatro e da sociologia, abordo questões ligadas às especificidades da pesquisa nas artes cênicas e da prática como pesquisa, e aos desafios metodológicos de pesquisar teatro e infância.
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Kelly, Eileen P. "The Drama of LeadershipThe Drama of Leadership By PitcherPatricia. New York: Wiley. 1997. 268 pages, hard cover, $27.50." Academy of Management Perspectives 11, no. 2 (May 1997): 89–90. http://dx.doi.org/10.5465/ame.1997.9707132134.

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Gowland, Gus. "The Works of Arthur Laurents: Politics, Love, and Betrayal, John M. Clum (2014)." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 364–67. http://dx.doi.org/10.1386/smt_00049_5.

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Review of: The Works of Arthur Laurents: Politics, Love, and Betrayal, John M. Clum (2014)New York: Cambria Press, 214 pp.,ISBN 978-1-60497-884-1, £66.99Terrence McNally and Fifty Years of American Gay Drama, John M. Clum (2016)New York: Cambria Press, 236 pp.,ISBN 978-1-60497-922-0, £69.99
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Lule, Jack. "Murder and Myth: New York Times Coverage of the TWA 847 Hijacking Victim." Journalism Quarterly 70, no. 1 (March 1993): 26–39. http://dx.doi.org/10.1177/107769909307000104.

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In June 1985, Shiite Moslem gunmen commandeered a TWA jetliner from Athens, Greece. The group held more than 150 people hostage and demanded the release of 700 Shiite Moslems jailed or detained by Israel. A passenger, U.S. Navy diver Robert Dean Stethem, was beaten and killed, his body pushed from the plane onto the runway. After 17 days of negotiations, with agreements reached for the release by Israel of hundreds of detainees, the hostages were released. Focusing on language in the New York Times, elite and essential for studies of international news images, a dramatistic analysis explores the newspaper's portrayal of the victim. The study suggests that the news reports of Robert Dean Stethem's killing may serve as a mythic drama of sacrifice. That is, in gripping portrayals of the victim's sacrifice to terrorism, the language of the news reports offers readers the opportunity to participate in a great drama of hope and despair, purpose and pain.
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Thompson, Lisa B. "A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910–1927. By David Krasner. New York: Palgrave Macmillan, 2002; pp. 370. $35 cloth; Stories of Freedom in Black New York. By Shane White. Cambridge, MA: Harvard University Press, 2002; pp. 260. $27.95 cloth." Theatre Survey 45, no. 1 (May 2004): 123–25. http://dx.doi.org/10.1017/s004055740424008x.

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

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Field, Andrew Thomas. "How can performance act historiographically? : enacting the New York avant-gardes of 1960s and early 1970s." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3711.

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This thesis is concerned with extending the role that live performance might play in our understanding of the work of the interrelated avant-garde performance communities that emerged in New York in the 1960s and early 1970s. This is a practice-led project that uses my own performance work as the site of its enquiry. In the last decade performance itself has begun to play a significant role in our understanding of and relationship to past performances, in the main through the increasing pervasion of re-enactment as an acknowledged historiographical trope. However, as a consequence of its association with re-enactment, the nature of the historiographical role afforded to performance is still primarily determined by its proximity to the archive and institutionalised modes of performance history. Challenging the primacy of the re-enactment as a means of embodied engagement with past performance, this research project explores how manipulation of my own performance practice might generate new forms of historical knowledge. In particular my focus is on using this practice to develop a new understanding of how the work of this earlier period altered y the experience of the urban landscape for those participating in the work, audience and performers alike. Structured around a rigorous analysis of three specific works from across this earlier period, I conceived a series of spatial ‘blueprints’ that were applied to my practice to create three new performance pieces. Using my own research and practice to renegotiate the relationship between live performance and the archive, I demonstrate the possibility for a new historiographical approach to past performance. This approach emphasises the role of the participants in the performance as generators of an alternative form of historical understanding embedded in ways of operating in the city.
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Carpenter, David. "The Age of Innocence [score]." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216328.

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Music Composition
D.M.A
The Age of Innocence is an opera based on the 1920 novel by Edith Wharton. Set in New York high society of the 1870's, it tells the story of Newland Archer, a young lawyer, his fiancée May Welland, and her cousin, the Countess Ellen Olenska, who has returned to her native New York in an aura of scandal, having left her husband, the dissolute Polish Count Olenski, in Europe. Although Archer and Ellen fall in love, he nevertheless follows the expectations of his family and marries the lovely but conventional May. For her part, while she sees a life with Archer as an escape from her loneliness, Ellen cannot allow herself to betray her cousin, insisting that she and Archer can love each other only if they remain apart. This love triangle is unique because of the social pressures placed upon Archer: he is a product of New York society, which has taught him to believe in the factitious idea of female innocence, as personified by May. Though he questions this and other conventions of his society, he is unable to bring himself to abandon the safety of these social norms that govern every aspect of proper behavior in New York. It is Archer's love for Ellen that prompts him to challenge these standards, pointing out New York's hypocrisy in welcoming May's cousin back to America while at the same time treating her as a pariah for abandoning her husband in Europe. None of their objections to Ellen is explicitly stated, however, for this is a world which has a morbid fear of "the unpleasant"--that is, anything that would disturb the calm surface of society's politesse and social grace. It comes as no surprise, then, that Archer's desire for Ellen (especially after he marries May), becomes a potential social nightmare for his family and all of New York, as they ruthlessly plot to drive the two apart, and send Ellen back to Europe. The main challenge in creating an opera out of this story, in addition to streamlining a lengthy and complex plot, was to delineate both in the libretto and the music the realms of the said and unsaid--that is, what the characters say in public, and what they say to themselves or to others that represents their innermost feelings. In the libretto, this was achieved by drawing upon Wharton's dialogue and narration in the novel in order to create these private and public utterances, in the form of recitatives, arias, duets, or ensemble pieces. The language of the libretto has been fashioned to serve these different musical forms, with dialogue from the novel employed in moments of recitative; and freely-metered verse, with a modest use of rhyme, for the "numbers" of the opera. The music, meanwhile, employs a system of codes to define the realms of the said and unsaid--motives, sonorities and key relationships that bring into focus the interactions of the characters, especially Archer, Ellen and May as their drama plays out under the ever-watchful eyes of New York society. The music has also been rendered to bring out the stresses and meter of the text, and heighten the import of the words as sung by a particular character. I have attempted in my opera to bring to life the timeless themes of Wharton's novel: unfulfilled love, the individual versus society, the potential corrupting influence of desire, and the moral choices that human beings face as they wrestle with these common issues. Opera, through the language of music, is one of the few art forms capable of fully realizing these themes in a dramatic context--in this sense, it is just as relevant to our time as it was to Wharton's, and therefore remains a viable medium for the twenty-first-century composer.
Temple University--Theses
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3

Carpenter, David. "The Age of Innocence: an opera in two acts." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/132444.

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Abstract:
Music Composition
D.M.A.
The Age of Innocence is an opera based on the 1920 novel by Edith Wharton. Set in New York high society of the 1870's, it tells the story of Newland Archer, a young lawyer, his fiancée May Welland, and her cousin, the Countess Ellen Olenska, who has returned to her native New York in an aura of scandal, having left her husband, the dissolute Polish Count Olenski, in Europe. Although Archer and Ellen fall in love, he nevertheless follows the expectations of his family and marries the lovely but conventional May. For her part, while she sees a life with Archer as an escape from her loneliness, Ellen cannot allow herself to betray her cousin, insisting that she and Archer can love each other only if they remain apart. This love triangle is unique because of the social pressures placed upon Archer: he is a product of New York society, which has taught him to believe in the factitious idea of female innocence, as personified by May. Though he questions this and other conventions of his society, he is unable to bring himself to abandon the safety of these social norms that govern every aspect of proper behavior in New York. It is Archer's love for Ellen that prompts him to challenge these standards, pointing out New York's hypocrisy in welcoming May's cousin back to America while at the same time treating her as a pariah for abandoning her husband in Europe. None of their objections to Ellen is explicitly stated, however, for this is a world which has a morbid fear of "the unpleasant"--that is, anything that would disturb the calm surface of society's politesse and social grace. It comes as no surprise, then, that Archer's desire for Ellen (especially after he marries May), becomes a potential social nightmare for his family and all of New York, as they ruthlessly plot to drive the two apart, and send Ellen back to Europe. The main challenge in creating an opera out of this story, in addition to streamlining a lengthy and complex plot, was to delineate both in the libretto and the music the realms of the said and unsaid--that is, what the characters say in public, and what they say to themselves or to others that represents their innermost feelings. In the libretto, this was achieved by drawing upon Wharton's dialogue and narration in the novel in order to create these private and public utterances, in the form of recitatives, arias, duets, or ensemble pieces. The language of the libretto has been fashioned to serve these different musical forms, with dialogue from the novel employed in moments of recitative; and freely-metered verse, with a modest use of rhyme, for the "numbers" of the opera. The music, meanwhile, employs a system of codes to define the realms of the said and unsaid--motives, sonorities and key relationships that bring into focus the interactions of the characters, especially Archer, Ellen and May as their drama plays out under the ever-watchful eyes of New York society. The music has also been rendered to bring out the stresses and meter of the text, and heighten the import of the words as sung by a particular character. I have attempted in my opera to bring to life the timeless themes of Wharton's novel: unfulfilled love, the individual versus society, the potential corrupting influence of desire, and the moral choices that human beings face as they wrestle with these common issues. Opera, through the language of music, is one of the few art forms capable of fully realizing these themes in a dramatic context--in this sense, it is just as relevant to our time as it was to Wharton's, and therefore remains a viable medium for the twenty-first-century composer.
Temple University--Theses
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4

Koski, Melissa F. "The Representations of Race and Ethnicity on NYPD Blue and Law & Order: An Analysis of the Portrayal of New York City on Crime and Police Drama." Thesis, Boston College, 2007. http://hdl.handle.net/2345/375.

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Thesis advisor: William Stanwood
The purpose of the study is to look at the representations of race in the popular television genre, the crime drama. An analysis of episodes of Law & Order and NYPD Blue was utilized to discover what portrayals the show contains of ethnicity in New York City, with an emphasis on the depictions of the victim of the crime, the perpetrator, and the criminal justice personnel. Along with these variables, theoretical analysis was taken into consideration. Results showed that although whites make up the majority of the characters on the programs, blacks and Hispanics do not always portray lesser roles. Blacks portrayed various high-powered roles, such as district attorney and other law enforcement officials, as did Hispanics to a lesser extent. When blacks were portrayed, however, they were most likely shown in a negative light. In terms of other races, Native Americans and Asians were nearly nonexistent on the episodes watched. Still, there were some qualifications to this argument, indicating that this area needs further study
Thesis (BA) — Boston College, 2007
Submitted to: Boston College. College of Arts and Sciences
Discipline: Communication
Discipline: College Honors Program
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Branković, Carina [Verfasser], and Gregor [Akademischer Betreuer] Ahn. "Ritual- und religionskritische Konstruktionen in George Taboris Holocaust-Drama "The Cannibals" (New York City 1968) und "Die Kannibalen" (West-Berlin 1969) / Carina Branković ; Betreuer: Gregor Ahn." Heidelberg : Universitätsbibliothek Heidelberg, 2019. http://d-nb.info/1191832929/34.

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Branković, Carina Verfasser], and Gregor [Akademischer Betreuer] [Ahn. "Ritual- und religionskritische Konstruktionen in George Taboris Holocaust-Drama "The Cannibals" (New York City 1968) und "Die Kannibalen" (West-Berlin 1969) / Carina Branković ; Betreuer: Gregor Ahn." Heidelberg : Universitätsbibliothek Heidelberg, 2019. http://nbn-resolving.de/urn:nbn:de:bsz:16-heidok-268320.

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Avila, Alex. "THE BRONX COCKED BACK AND SMOKING MULTIFARIOUS PROSE PERFORMANCE." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/394.

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The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun.
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Books on the topic "Showgirls – new york – drama"

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Cocks, Jay. Gangs of New York. United States]: [publisher name not identified], 2001.

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1862-1935, Mitchell Langdon Elwyn, ed. The New York idea. New York: Dramatists Play Service, 2011.

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Culkin, Macaulay. Home alone 2: Lost in New York. Beverly Hills, Calif: Twentieth Century Fox Home Entertainment, 1999.

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V, Antush John, ed. Nuestro New York: An anthology of Puerto Rican plays. New York: Mentor, 1994.

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Christopher, Jennison, ed. Yankee Stadium: Drama, glamor, and glory. New York: Viking Studio, 2004.

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V, Antush John, ed. Recent Puerto Rican theater: Five plays from New York. Houston, Tex: Arte Publico Press, 1990.

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Siino, Carolyn Jane. Conquering corruption in New York City education. Ozone Park, N.Y: Lucky Literature, 1994.

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Hazelton, Nancy J. Doran, 1948- and Krauss Kenneth 1948-, eds. Maxwell Anderson and the New York stage. Monroe, N.Y: Library Research Associates, 1991.

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Christopher, Jennison, ed. Yankee Stadium: 75 years of drama, glamor, and glory. New York: Penguin Studio, 1998.

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Culkin, Macaulay. Home alone 2: Lost in New York. Beverly Hills, Calif: Twentieth Century Fox Home Entertainment, 2009.

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Book chapters on the topic "Showgirls – new york – drama"

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Westgate, J. Chris. "“City, Bad Place”: Architecture and Disorientation in New York City." In Urban Drama, 59–89. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119581_3.

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Westgate, J. Chris. "“Against the Law in this City”: Public Space in New York City." In Urban Drama, 19–57. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119581_2.

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Westgate, J. Chris. "“Does it Explode?”: Ghettoization and Rioting in New York City and Los Angeles." In Urban Drama, 125–57. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119581_5.

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Thifault, Paul. "Fashion; Or, Life in New York (1845) by Anna Cora Mowatt." In The Routledge Introduction to American Drama, 31–40. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003142713-4.

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Laatikainen, Katie Verlin. "The EU Delegation in New York: A Debut of High Political Drama." In The European External Action Service, 195–218. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137383037_11.

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Bravi, Luigi. "Oxford Readings in Aristophanes, ed. Erich Segal, Oxford-New York, Oxford University Press 1996, pp. I–XXII, 1–335." In Der Chor im antiken und modernen Drama, 291–94. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-04304-7_13.

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"NEW YORK CITY." In New World Drama, 215–62. Duke University Press, 2014. http://dx.doi.org/10.2307/j.ctv1220nq6.11.

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"Chapter 6. New York City." In New World Drama, 215–62. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822395737-009.

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"Epilog: New York / Jerusalem." In Ein Drama in Akten, 117–32. Göttingen: Vandenhoeck & Ruprecht, 2021. http://dx.doi.org/10.13109/9783666351280.117.

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Eeckhout, Bart. "The Spatial Drama of Hope and Desire in Contemporary New York City Literature." In New York, 215–26. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108557139.015.

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