Journal articles on the topic 'University Arts Festival'
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1
Edmond, Murray. "A Saturated Time: Three Festivals in Poland, 2007." New Theatre Quarterly 24, no. 4 (November 2008): 307–21. http://dx.doi.org/10.1017/s0266464x08000468.
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What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).
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Budde, Antje, and Sebastian Samur. "Making Knowledge/Playing Culture." Theatre Research in Canada 40, no. 1-2 (March 20, 2020): 83–101. http://dx.doi.org/10.7202/1068259ar.
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(A project of the Digital Dramaturgy Lab at the Centre for Drama, Theatre and Performance Studies, University of Toronto) This article discusses the 2017 festival-based undergraduate course, “Theatre Criticism and Festival Dramaturgy in the Digital Age in the Context of Globalization—A Cultural-Comparative Approach” as a platform for experiential learning. The course, hosted by the University of Toronto’s Centre for Drama, Theatre and Performance Studies, and based on principles of our Digital Dramaturgy Lab, invited a small group of undergraduate students to critically investigate two festivals—the Toronto Fringe Festival and the Festival d’Avignon—in order to engage as festival observers in criticism and analysis of both individual performances and festival programming/event dramaturgy. We argue that site-specific modes of experiential learning employed in such a project can contribute in meaningful ways to, and expand, current discourses on festivalising/festivalization and eventification through undergraduate research. We focus on three modes of experiential learning: nomadic learning (learning on the move, digital mobility), embodied knowledge (learning through participation, experience, and feeling), and critical making (learning through a combination of critical thinking and physical making). The article begins with a brief practical and theoretical background to the course. It then examines historical conceptions of experiential learning in the performing arts, including theoriesadvanced by Burnet Hobgood, David Kolb and Ronald Fry, and Nancy Kindelan. The importance of the festival site is then discussed, followed by an examination of how the festivals supported thethree modes of experiential learning. Samples of student works are used to support this analysis.
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LeCompte, Elizabeth, Kate Valk, Ari Fliakos, and Maria Shevtsova. "A Conversation on The Wooster Group's Hamlet." New Theatre Quarterly 29, no. 2 (April 29, 2013): 121–31. http://dx.doi.org/10.1017/s0266464x13000237.
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This conversation took place during the Gdansk Festival, 1–10 August 2009, where The Wooster Group performed its internationally acclaimed Hamlet (2006), directed by Elizabeth LeCompte. The conversation, led by Maria Shevtsova and edited by her for publication, was part of the conference organized under the auspices of the Festival by Jerzy Limon, the Festival's director. Here LeCompte and two performers from the company, Kate Valk and Ari Fliakos, discuss how they generated the work, and develop their thoughts in answers to questions from the audience. Later this year The Wooster Group will perform Hamlet on 10–13 August at the Edinburgh International Festival. Maria Shevtsova is the Chair Professor of Drama and Theatre at Goldsmiths, University of London, and Co-Editor of New Theatre Quarterly.
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Shevtsova, Maria. "Reasons for Joy and Reflection: Engaging with Shakespeare at the Craiova Festival." New Theatre Quarterly 28, no. 4 (November 2012): 352–62. http://dx.doi.org/10.1017/s0266464x12000656.
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The Craiova International Shakespeare Festival has been a major touchstone in Europe for theatre artists, theatregoers, and scholars for nearly two decades. This overview briefly situates the Festival historically, indicating the ideals and perspectives developed for it by its founder Emil Boroghina, former director of the National Theatre of Craiova. It identifies as well a number of the Festival's many highlights over the years, Romanian as well as international, and focuses on examples from the 2012 programme, including Silviu Purcarte's The Tempest and Robert Wilson's Shakespeare's Sonnets performed by the Berliner Ensemble. Attention is drawn to the presence at the successive editions of the Festival of productions directed by Purcarete, who established his career at the National Theatre of Craiova, to which Boroghina had invited him, and who won international fame after performances of his Ubu Rex with Scenes from Macbeth at the 1991 Edinburgh Festival. Maria Shevtsova holds the Chair in Drama and Theatre Arts at Goldsmiths, University of London, and is co-editor of New Theatre Quarterly.
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Juntunen, Jacob. "Taking the Rural International." Theatre Survey 62, no. 3 (August 23, 2021): 322–26. http://dx.doi.org/10.1017/s0040557421000223.
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In March 2020, Southern Illinois University in Carbondale (SIU) went into lockdown. With the annual Big Muddy New Play Festival about to kick off—two productions entering tech and four full-length staged readings rehearsing—SIU's M.F.A. Playwriting Program had been left in the lurch. COVID-19 and the scramble to move courses online and to graduate our M.F.A.'s canceled the entire festival. A year later, still online, the SIU M.F.A. Playwriting new play festival did not meet this same fate. Based on twelve months of experimentation, the program was able to develop a streaming festival. Our 2021 new play festival on YouTube brought together more than forty artists across eight time zones to collaborate with our five graduate student playwrights. The international ensemble, represented in an interactive map (Fig. 1), showed how open-access software and streaming platforms could help students at our rural university transcend our limited geography.
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Keeney, Patricia, and Don Rubin. "A Barrage of Coward." New Theatre Quarterly 26, no. 3 (August 2010): 290–93. http://dx.doi.org/10.1017/s0266464x10000485.
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The Shaw Festival, held annually in Niagara-on-the-Lake, Ontario, highlights plays from or about Shaw's lifetime. Patricia Keeney and Don Rubin, who teach at York University in Toronto, here report on the 2009 festival.
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Laviosa, Flavia, and Anastasia Grusha. "Ruskino Film Festival: Interview with Silvia Burini." Journal of Italian Cinema & Media Studies 11, no. 3 (June 1, 2023): 689–95. http://dx.doi.org/10.1386/jicms_00206_7.
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Professor Silvia Burini, director for the Centre of Russian Art Studies (CSAR), gives a historical overview of how and why the film festival Ruskino was established in 2011 and explains how it has changed over the years. The festival is unique in its kind because it comprises a vast community of university students, doctoral students, post-docs from the Ca’ Foscari University in Venice, teachers as well as secondary school students and citizens of Venice. Another unique feature of Ruskino is its involvement with university and secondary school students with a competition for the best subtitling of the Russian films selected for the festival.
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Shevtsova, Maria. "The Baltic House Theatre Festival, St Petersburg: Twenty-Five Years On." New Theatre Quarterly 32, no. 1 (January 7, 2016): 61–67. http://dx.doi.org/10.1017/s0266464x1500086x.
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One of the most important theatre festivals in Russia, the Baltic House Theatre Festival has a well-defined focus, as its name suggests. During the twenty-five years of its existence, it has showcased and in other ways nurtured and encouraged some of the greatest talents – actors, directors, designers – of the Baltic region. It has invited such leading directors as Eimuntas Nekrosius to prepare and rehearse works in its theatre – in the case of Boris Godunov in 2015, performed by the National Theatre of Vilnius. The Festival has also financed co-productions, to extend the reach of its own theatre and develop young audiences, inviting, for example, Luk Perceval and Silviu Purcarete to mount Macbeth (2014) and A Midsummer Night's Dream (2015), respectively, with the Baltic House company. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London
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Drake Stutesman. "African Video Film Arts Festival, Obafemi Awolowo University, Ile-Ife, Nigeria." Framework: The Journal of Cinema and Media 49, no. 2 (2008): 142–45. http://dx.doi.org/10.1353/frm.0.0026.
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Shevtsova, Maria. "The Craiova Shakespeare Festival 2016 and a Valediction for Yukio Ninagawa." New Theatre Quarterly 32, no. 3 (June 30, 2016): 276–82. http://dx.doi.org/10.1017/s0266464x16000257.
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A report by Maria Shevtsova on the 2016 edition of the biennial Craiova International Shake speare Festival, continuing her coverage of the event in NTQ 112. She pays special attention here to the pièce de résistance of the latest festival – Richard II with the Saitama Arts Theatre, directed by Yukio Ninagawa, whose death occurred barely a month later: this article is also a tribute to a world-renowned man of the theatre. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts in the Department of Theatre and Performance, Goldsmiths, University of London.
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Cottreau, Deborah. "Wolfville Doing It Right: Bawtree’s Atlantic Theatre Festival." Canadian Theatre Review 83 (June 1995): 72–74. http://dx.doi.org/10.3138/ctr.83.016.
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Overlooking the Bay of Fundy, situated in the quaint university town of Wolfville, Nova Scotia, stands a steel-supported wooden ‘O’, a proposed 514-seat skating-rink-turned-theatre, soon-to-be home of the Atlantic Theatre Festival. The brainchild of Artistic Director Michael Bawtree and associates, ATF stands as proof positive that local initiative and grass-roots collaboration are the key to Canada’s cultural future. Other than local residents and area politicians, further contributors include some of Canada’s finest theatrical talent: Christopher Plummer is ATF’s Honourary Fundraising Chairman; Michael Shamata, recently-appointed Artistic Director for London’s Grand Theatre, offers ATF invaluable advice on the daily running of, and casting for, a repertory company; Stratford lighting designer Michael Whitfield provided ATF with their initial requirements for stage lighting. He continues to advise project architect Michael Harvey (Halifax), on the theatre’s structural design. Former Artistic Director of Canada’s Stratford Festival, Michael Langham, is the festival’s Associate Director. On 16 June, 1995, ATF will launch its inaugural season with Langham’s mise en scène of Shakespeare’s The Tempest.
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Wiles, David. "The Lewes Bonfire Festival." New Theatre Quarterly 12, no. 46 (May 1996): 177–91. http://dx.doi.org/10.1017/s0266464x00009994.
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The Lewes Bonfire Festival is an important piece of popular theatre, which has largely resisted attempts by higher authority to control and redefine it. Annually some 2,000 costumed participants, watched by up to 80,000 spectators, take over the streets of the usually staid county town of East Sussex, and effigies of contemporary politicians and of the Pope are burnt during six hours of carnivalesque rule. Here, David Wiles analyzes the history and organizational structure of the festival, and examines the ideology of Englishness upon which the event turns. David Wiles is Reader in Drama at Royal Holloway College, University of London. His interest in popular theatre has principally been historical, and he has published books on the Robin Hood play and on the Elizabethan clown. Most recently, in Shakespeare's Almanac (D. S. Brewer, 1993) he has explored the structural logic of the festive calendar.
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Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (April 19, 2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.
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Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and eventifying Afrikaans writing and performance, but also in communicating a particular vision of the Afrikaans-speaking and ‘Afrikaner’ cultural context. Using the Klein Karoo Nasionale Kunstefees in Oudtshoorn as a case study, in this article Temple Hauptfleisch discusses the nature, content, and impact of this particular festival as a theatrical event, and goes on to explore the polysystemic nature of the festival phenomenon in general. Temple Hauptfleisch is a former head of the Centre for South African Theatre Research (CESAT) and Chair of the University of Stellenbosch Drama Department. He is currently the director of the Centre for Theatre and Performance Studies at Stellenbosch and editor of the South African Theatre Journal. His recent publications include Theatre and Society in South Africa: Reflections in a Fractured Mirror (1997), a chapter in Theatrical Events: Borders, Dynamics, Frames (2003), and one on South African theatre in Kreatives Afrika: Schriftstellerlnnen über Literatur, Theater und Gesellschaft (2005).
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Reynolds, Peter. "Leuven, Belgium: Transit New Music Festival." Tempo 67, no. 264 (April 2013): 69–70. http://dx.doi.org/10.1017/s0040298213000090.
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In its unswerving devotion to new music at its most uncompromising, the Flemish Transit Festival represents a model of the kind of festival that has now almost vanished from Britain. Based in the intimate university town of Leuven, the 2012 festival was the thirteenth: 48 hours of music and events concentrated into a weekend, running from Friday night to Sunday (26–28 October). Located mainly in the unprepossessing concrete 1970s STUK arts centre (with surprisingly good acoustics), the 12 events (plus pre-concert talks) followed upon one another with a rapidity that almost negated the opportunity to draw breath, let alone eat in between.
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Wheeler, Duncan. "The Malaga Festival: Cinema, Celebrity, and Culture." Film Quarterly 73, no. 1 (2019): 85–91. http://dx.doi.org/10.1525/fq.2019.73.1.85.
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Now in its twenty-second edition, the Malaga Festival of Film in Spanish can hardly compete for cultural capital with Spain's renowned San Sebastián Film Festival or, for that matter, with its long-standing counterparts in Valladolid, Seville, or Gijón. As the only major forum of its kind dedicated to Spanish cinema and, since 2016, to cinema in Spanish, the Malaga Film Festival nevertheless occupies a unique place in the national film landscape and consciousness. Culture has been central to the recent makeover of the Andalusian city, the birthplace of Pablo Picasso and Antonio Banderas. Festival organisers face the challenge of pleasing diverse stakeholders, combing the glamour of the red carpet with securing the best titles. Duncan Wheeler (University of Leeds) attended the Festival in March this year to explore how and why the dynamics at play offer a snapshot of the past, present, and future of Spanish audiovisual production.
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Merin, Jennifer. "Colombia: The Manizales International Theatre Festival." Canadian Theatre Review 42 (March 1985): 141–44. http://dx.doi.org/10.3138/ctr.42.013.
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Manizales is a charming small city, situated high in the Colombian Andes. It is a university town, but is usually overshadowed as a cultural centre by the larger Colombian cities of Bogota, Cali and Medallin. Nevertheless, last September, the Sixth International Theatre Festival of Manizales dominated Colombian cultural news to make this city the cultural focal point of Colombia, if not of all Latin America.
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Keeney, Patricia, and Don Rubin. "Canada's Stratford Festival: Adventures Onstage and Off." New Theatre Quarterly 25, no. 2 (May 2009): 187–94. http://dx.doi.org/10.1017/s0266464x09000281.
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The festival season in Stratford, Ontario, was fraught with an offstage drama which seemed to reprise that of thirty years ago, when an experiment with a triumviral directorate ended in dissension and near disaster. However, once the dust had settled, an interestingly balanced season emerged, mixing Shakespeare and Shaw, ancient Greek and modern tragedy, Beckett and balletic Moby Dick. Here Patricia Keeney and Don Rubin offer their assessment of a wide-ranging repertoire. Patricia Keeney is a poet, novelist and long-time theatre critic for the monthly journal Canadian Forum. She is a Professor of English and Creative Writing at Toronto's York University. Don Rubin is the founding editor of the quarterly Canadian Theatre Review, General Editor of Routledge's six-volume World Encyclopedia of Contemporary Theatre, and Director of the Graduate Program in Theatre Studies at Toronto's York University.
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Looseley, David. "The World Theatre Festival, Nancy, 1963–88: a Critique and a Retrospective." New Theatre Quarterly 6, no. 22 (May 1990): 141–53. http://dx.doi.org/10.1017/s0266464x00004218.
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Unlike Avignon, still active after more than forty years, the once notorious Nancy Festival has slipped unobtrusively into history. David Looseley sets out here to trace this itinerary. After reviewing the festival's origins and its importance for the experimental theatre of the 1960s, he examines what became of it in the bleaker decades which followed, and assesses the meaning of its decline. David Looseley, who teaches in the Department of Modern Languages at the University of Bradford, is currently engaged in research funded by the Leverhulme Trust into the politics of culture in contemporary France. His published work includes a book on the theatre of the twentieth-century French dramatist Armand Salacrou.
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Ledger, Kate. "Electric Spring, Huddersfield, 22–26 February 2017." Tempo 71, no. 281 (June 21, 2017): 93–95. http://dx.doi.org/10.1017/s0040298217000377.
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In the heart of the University of Huddersfield's Creative Arts Building sits the unassuming Phipps Hall, which has given itself over to five days of total electronic sound immersion. The University has grown accustomed to attracting pioneering artists in contemporary music over the last four decades, both to its in-house research centre CeReNeM, and to the Huddersfield Contemporary Music Festival every November. The relatively younger Electric Spring Festival takes place every February and is now able to stand alongside its older sibling, offering the public an impressive and diverse programme of composers and artists specialising in electronic sound manipulation. This year was no exception. Running from 22 to 26 February, there was something to suit everyone, from improvised live-coded dance music to classic musique concrète masterpieces. From its conception in 1995, the aim of the festival has been to offer breadth and surprise to its audience.
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Sturgis, Daniel. "Bauhaus: To turn away from normality." Art, Design & Communication in Higher Education 19, no. 1 (April 1, 2020): 9–18. http://dx.doi.org/10.1386/adch_00010_1.
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This article revisits the history and legacy of the Bauhaus from the vantage point of contemporary art education. It explains how the design school was never a unified project, but rather a collection of disparate voices and opinions, and shows how ideas of community and subjectivity were at its centre. The author asks if these ideas, born out of early nineteenth-century educational reform, and pressurized by the political turbulence of 1920s and 1930s Germany may be the most useful influences for the Bauhaus impacting on Art and Design education today. The article was prepared for the opening of the conference Bauhaus Utopia in Crisis, 24 October 2019, University of the Arts London, Camberwell College of Arts. The conference was part of the week-long OurHaus festival at the University that ran between 21 and 25 October 2019. The festival included the exhibition Utopia in Crisis, curated by Daniel Sturgis at Camberwell Space Gallery (16 September‐9 November 2019) touring to Bauhaus-Universität Weimar (2020).
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Hattler, Max. "The Abstracted Real: Speculations on Experimental Animated Documentary." International Journal of Film and Media Arts 6, no. 3 (December 31, 2021): 37–54. http://dx.doi.org/10.24140/ijfma.v6.n3.03.
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Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installation, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doctorate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London International Animation Festival, among others. He has published on expanded stereoscopic approaches in experimental filmmaking and the narrative potential of abstraction in animation. He has spoken widely at international conferences such as CONFIA, the Society for Animation Studies Conference, Animafest Scanner, Ars Electronica’s Expanded Animation Symposium and the Annual China Animation Studies Conference in Chengdu. Max Hattler is the co-founder and chairman of Relentless Melt, a Hong Kong-based society for the promotion, production and dissemination of abstract and experimental animation, which presents screenings in Hong Kong and internationally. He serves on the board of directors of the iotaCenter and the editorial boards of Animation: An Interdisciplinary Journal, and Animation Practice, Process & Production.
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Illman, Ruth. "Aboagora 2013: The Human Machine." Approaching Religion 3, no. 2 (December 4, 2013): 1–2. http://dx.doi.org/10.30664/ar.67510.
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The editorial introduces the articles of the issue, all pertaining to the arts and sciences event, Aboagora, which gathered artists, academics and a wide range of interested listeners together to discuss the relationship between technology and the human being in Turku/Åbo in August, 2013. Aboagora is arranged as a joint venture between Turku Music Festival and scholars from the University of Turku, Åbo Akademi University and the Donner Institute.
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Shpolberg, Masha. "Looking Out for Something Better to Come: Interview with Director Hanna Polak." Film Quarterly 69, no. 4 (2016): 65–71. http://dx.doi.org/10.1525/fq.2016.69.4.65.
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Hanna Polak was in the United States in December 2015 for a screening of Something Better to Come (2014) and The Children of Leningradsky (2004) at Yale University, where the interview was conducted. Polak's devastating documentary Something Better to Come swept through the festival circuit with force, winning a Special Jury Award at IDFA along with awards at over twenty other festivals. Shot illegally on a garbage dump just outside Moscow over the course of fourteen years, the film follows a girl named Yula from age 10 to 24, as she grows up doing the things that teenagers everywhere do—experimenting with her hair color and makeup, with cigarettes and alcohol—all while living in the most difficult of conditions.
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Glendinning, Miles. "The Royal Festival Hall: A Postscript." Architectural History 48 (2005): 323–26. http://dx.doi.org/10.1017/s0066622x00003828.
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In late 2003, immediately after the publication in that year’s Architectural History of my article, ‘Teamwork or Masterwork?’, which discussed the issue of the ‘authorship’ of the Royal Festival Hall (RFH) design, a large, carefully-wrapped roll of drawings of early schemes for the RFH was discovered at the Matthew family house, Keith Marischal, East Lothian; together with the remainder of the archival material at the house, it has now been passed to Edinburgh University Library (Special Collections Department). As set out in this short postscript, they shed an important new light on the arguments put forward in the earlier article, whose text and footnotes should be consulted at the appropriate points, to obviate the need for repetition in this piece.
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Rand, Peter, and Anna Winestein. "Reflecting on the Spirit of Sergei Diaghilev." Experiment 17, no. 1 (2011): 21–29. http://dx.doi.org/10.1163/221173011x611806.
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Abstract The present article is a colloquy between the directors of Ballets Russes 2009, a festival held in Boston in 2009 to celebrate the centenary of Sergei Diaghilev’s Ballets Russes. The authors reflect on the experience of organizing the festival, including the conference at Boston University that forms the basis of this volume. The article features the insights their work gave them into Diaghilev's own experience in running the Ballets Russes, as well as observations about Diaghilev as a manager and cultural entrepreneur.
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Chattopadhyay, Arkaprava. "Traditional Rituals as Conduits for Political Ascendancy: The Pang Lhabsol Festival of Sikkim, India." New Theatre Quarterly 38, no. 3 (July 19, 2022): 283–97. http://dx.doi.org/10.1017/s0266464x22000203.
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This article explores the role of the traditional Pang Lhabsol festival of Sikkim in India as a medium for political ascendancy and influence in the region – a phenomenon that has continued, albeit with different political inflections, from its founding days until the present. Since its emergence as an indigenous practice in the thirteenth century, it has consistently transformed according to each juncture of political realignment in the region. After 1642, the festival was redesigned to resonate with the religion and ideology of the ruling Namgyal dynasty, playing out negotiations between mainstream Buddhism and the animistic Bon religion. While the inclusion of the Pangtoed Chham dance performance in the ritualistic itinerary of Pang Lhabsol had very significantly reinforced the role of the king as the protector of the people and their faith, the festival has been considerably overshadowed by the inclusion of new elements that resonate with the secular narrative of India after 1975. The article identifies the significance of each of these new elements, drawing as well on audience research undertaken through in-depth interviews. Arkaprava Chattopadhyay is an Assistant Professor at the Shri Ramasamy Memorial University in Sikkim, as well as a doctoral candidate at the Central University of Sikkim.
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Ostrowska, D. "Film Festival Workshop, St Andrew's University, Scotland, 4 April 2009." Screen 51, no. 1 (March 1, 2010): 79–81. http://dx.doi.org/10.1093/screen/hjp049.
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Patey-Ferguson, Phoebe. "LIFT and the GLC versus Thatcher: London’s Cultural Battleground in 1981." New Theatre Quarterly 36, no. 1 (February 2020): 4–16. http://dx.doi.org/10.1017/s0266464x20000068.
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In 1981 Rose Fenton and Lucy Neal established the London International Festival of Theatre (LIFT). While the Festival is generally recognized as having been highly influential in the field of British theatre over the past twenty-five years, it has received little academic attention. In this article Phoebe Patey-Ferguson examines the founding of the event, arguing that the specific socio-political circumstances of its early years gave shape to the innovative form of a city-based international theatre festival. The bureaucratic conflict between Margaret Thatcher’s Conservative government and Ken Livingstone’s Greater London Council (GLC) is identified as a central factor in the creation of LIFT, with reference to Pierre Bourdieu’s concept of the bureaucratic field and Loïc Wacquant’s development of this model in relation to neoliberal market capitalism. The article is derived from Phoebe Patey-Ferguson’s recently completed PhD on LIFT in its social, cultural, and political context at the Department of Theatre and Performance, Goldsmiths, University of London.1
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Silva, Ricardo Scucuglia Rodrigues da, Alexandra Carmo Caceres Ianelli, and Ana Carolina Bueno de Carvalho. "Didactic aspects involving the production of digital videos by pre-service Mathematics teachers." Revista Tempos e Espaços em Educação 15, no. 34 (December 20, 2022): e18288. http://dx.doi.org/10.20952/revtee.v15i34.18288.
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The research reported in this article aimed to investigate didactic aspects involved in the production of digital videos by mathematics pre-service teachers for the participation in the Festival of Digital Videos and Mathematics Education. The data were produced in the course named "Didactics of Mathematics" with two classes of an undergraduate course in Mathematics at a public state university. The video production process was based on the notion of “digital mathematical performance”. Based on the instructor's supervision, the groups produced six videos, four of which were submitted to the Festival, exploring different elementary and high school mathematical contents and using different artistic-narrative languages. The didactic proposal is innovative considering the interface involving the use of digital technologies and the arts in Mathematics Education, with emphasis on multimodality. Participation in the Festival offered the means to build alternative images of mathematics and aesthetic mathematical experiences for future teachers.
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Birchfield, David, Doug Geers, and Johnathan Lee. "Interactive Arts Festival Columbia University, New York, New York, USA, 6–9 April 1999." Computer Music Journal 24, no. 2 (June 2000): 83–88. http://dx.doi.org/10.1162/comj.2000.24.2.83.
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Ukala, Sam. "Impersonation in Some African Ritual and Festival Performances." New Theatre Quarterly 16, no. 1 (February 2000): 76–87. http://dx.doi.org/10.1017/s0266464x00013476.
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Few studies of African ritual and festival performance have been written from a theatrical perspective, and Sam Ukala believes that the richness of such events has yet to be fully explored by African dramatists – while most of the western paratheatrical experiments derived from them have been influenced more by anthroplogical models than aesthetic principles. In pursuit of a dramaturgical approach to the study of African rituals and festivals, he focuses on the role and nature of impersonation in these events, and examines the relationship between the forms, objectives, and contexts of the performances and the kinds of impersonation to be found in them. Distinguishing between the western actor and the African role-player, and between ‘intense impersonation’ and possession, he suggests also some generic parallels between western theatre and African performance. Sam Ukala is a Professor of Drama and Theatre Arts at Edo State University, Ekpoma, Nigeria. A theatre director and playwright, his published plays include The Slave Wife, The Log in Your Eye, Akpakaland, The Trails of Obiamaka Elema, Break a Boil, and Two Plays: The Placenta of Death and The Last Heroes. In 1998–99 he was resident writer and director at Horse and Bamboo Theatre in the United Kingdom, where, with Bob Frith, he wrote and directed Harvest of Ghosts, a first experiment with wordless visual theatre, an extension of his preoccupation with ‘folkism’, a dramaturgy based on folk compositional and performance aesthetics formulated in his article in NTQ47 (August 1996).
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Ahmed, Syed Jamil. "Decoding Myths in the Nepalese Festival of Indra Jātrā." New Theatre Quarterly 19, no. 2 (May 2003): 118–38. http://dx.doi.org/10.1017/s0266464x03000046.
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As a rule, news from Nepal gets little or no prominence in the western media – but the regicide of 2001, in which Prince Dipendra allegedly mowed down his parents and then shot himself, was a notable exception. Two years earlier, Syed Jamil Ahmed witnessed Prince Dipendra's and his father King Birendra's participation in the festival of Indra Jātrā, held annually in the nation's capital city, Kathmandu. After an analysis of the myths underlying the festival, and of their modification over centuries to serve changing dynastic priorities, the author provides an account of the festival as a ‘first-person felt experience’, and then investigates how its contemporary actuality reflects and attempts to perpetuate an intricate network of social and political meanings. Syed Jamil Ahmed is a director and designer based in Bangladesh, where he is Associate Professor at the Department of Theatre and Music in the University of Dhaka. He trained in theatre at the School of Drama in New Delhi, and in 2001–2 was a visiting faculty member at King Alfred's College, Winchester. His full-length publications – Acinpakhi Infinity: Indigenous Theatre in Bangladesh (Dhaka University Press, 2000) and In Praise of Niranjan: Islam, Theatre, and Bangladesh (Dhaka: Pathak Samabesh, 2001) – catalogue the wide variety of indigenous theatre forms in Bangladesh. He has proceeded to examine the variety of Islamic theatre forms, their inherent features, and their relationship to the corrupting influence of western forms.
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Melski, Michael, Chris O’Neill, Ken Schwartz, Wendy Lill, and Michael Devine. "Blood On Steel: “Joyride” and “Heartspent and Black Silence”, Westray: The Long Way Home, The Glace Bay Miners’ Museum." Canadian Theatre Review 96 (September 1998): 96–97. http://dx.doi.org/10.3138/ctr.96.015.
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Michael Melski is a young Atlantic Canadian writer who has experienced success at the Fringe and New Play Development Festival level. Published by his regional university press, Blood On Steel is the kind of youthful writing which marks a playwright with clear, but as yet not fully developed, talents.
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Jones, Thomas Morgan. "The Charlottetown Festival Young Company: Training Performers for Musical Theatre." Canadian Theatre Review 123 (June 2005): 37–41. http://dx.doi.org/10.3138/ctr.123.008.
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There remains a need in our system to bridge the gap between educational study and professional career. The college and university programs commit to a term of study for a three to four year period. Upon completion, the young artist has a strong, if somewhat generalized, understanding of the musical theatre art form. This varies per program and individual. They are then left on their own to begin their search for employment in our chosen profession.
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Silveira, Diego Omar da, and Ericky Da Silva Nakanome. "O BOI-BUMBÁ DE PARINTINS COMO ARTE E HISTÓRIA PÚBLICA: DO FOLGUEDO DE TERREIRO AO ESPETÁCULO DE ARENA E ALÉM." Arteriais - Revista do Programa de Pós-Gradução em Artes, no. 12 (May 20, 2022): 134. http://dx.doi.org/10.18542/arteriais.v0i12.12683.
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ResumoO texto aborda o Boi-Bumbá de Parintins como arte e história pública, ou seja, como espaço de conformação de atuações que, para além do folclore, criam possibilidades de uma interven-ção cultural dialógica, em contato tanto com as discussões contemporâneas nos mais diversos campos da cultura quanto com o patrimônio e as tradições locais. Partimos, ao mesmo tempo, da crescente bibliografia disponível sobre esse que é um dos mais importantes festivais folcló-ricos do país e das experiências de produção dos bumbás e de ensino nos cursos de Artes e História nos campi da Universidade Federal do Amazonas e na Universidade do Estado do Amazonas em Parintins.AbstractThis paper approaches the Parintins Boi-Bumbá as an art form and as a part of public history, that is, as a space for conforming actuations that, beyond folklore, enable the creation of a dialogic cultural intervention that is simultaneously in touch with contemporary discussions in multiple fields of culture as well as with local heritage and traditions. We draw on ever grow-ing bibliographic references available about the festival, which is one of the most important festivals in the country, as well as from the experience of producing the bumbás and teaching in the Arts and History campuses of the Federal University of Amazonas and the State Uni-versity of Amazonas, in Parintins.
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Shevtsova, Maria. "Moscow’s Golden Mask Festival: The Russian Case (Online, 2021)." New Theatre Quarterly 37, no. 4 (November 2021): 376–88. http://dx.doi.org/10.1017/s0266464x21000300.
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The team running the Russian Case as part of Moscow’s annual Golden Mask Festival pulled off a major feat in 2021 by organizing a five-day programme online. Deeply disappointed that the Russian Case had been cancelled in the preceding year due to the Covid pandemic, this group made it its mission to succeed in adverse circumstances; and succeed it did by providing works varied enough to engage its habitual audience, as well as people coming to the event for the first time, albeit digitally. In a departure from established practice, several productions that were performed too late to compete for the awards of the 2021 Festival appeared in this year’s Russian Case. The overview offered here gathers some works out of the choices made by Maria Shevtsova, Editor of New Theatre Quarterly, whose most recent book is Rediscovering Stanislavsky (Cambridge University Press, 2020).
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Rewa, Natalie, and Michael J. Sidnell. "Montreal: Festival de Theatre des Ameriques, May-June, 1995." Canadian Theatre Review 86 (March 1996): 51–55. http://dx.doi.org/10.3138/ctr.86.009.
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The Festival de theatre des Ameriques is remarkable for the range and quality of the performance spaces that it has available and deploys to such good effect. This is partly due to an extraordinary proliferation of performance spaces in Montreal over the last ten years, unequalled in any other city in Canada in this respect; and it is partly due to the enterprise of Marie Helene Falcon, the Festival’s Director, in acquiring the use of a variety of venues and matching them to specific productions. Her programming has always brought the spectators into performance spaces of various kinds, shapes and sizes and she has often exploited not only the physical attributes of the locations but their local cultural resonances. In 1991, for example, Hip Hop Waltz of Eurydice, the late Reza Abdoh’s brilliant, postmodern reworking of cultural icons for an AIDS-conscious spectatorship was performed in the Clarke Theatre of Concordia University, an all-purpose assembly hall, with few of the markings of a traditional theatre. Similarly, in 1993, Robert Wilson’ s production of Gertrude Stein’s When Doctor Faustus Lights the Lights was performed in UQAM’s newly-completed Salle Pierre Mercure, which architecturally reinforced the spatial rhythms of Wilson’s mise en scène. By contrast Tadeusz Kantor ’s production by Cricot 2 of La Classe morte, featured during the 1991 FTA, was accommodated at the historically significant Theatre Denise Pelletier, where an exhibition of the company’s posters was also mounted. In 1991, when the FTA took the relationship between theatre and dance as one of its themes, it featured Marie Chouinard’s first choreography for a troupe of dancers at the Monument-National, while Falcon also introduced Festival audiences to the possibilities of more intimate dance performances in the new Agora de Danse at UQAM, with Rebis, Alvaro Restrepo’s ritualized dance exploration of space and the spoken word, done in homage to Garcia Lorca.
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Knowles, Ric. "Celebrating Canadian Plays and Playwrights." Canadian Theatre Review 114 (March 2003): 3–5. http://dx.doi.org/10.3138/ctr.114.fm.
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On a cool weekend in October 2002, a virtual who’s who of Canadian drama and theatre in English – scholars, actors, directors, dramaturgs and above all playwrights – gathered in Stratford, Ontario, to celebrate Canadian plays written primarily in English. This issue of Canadian Theatre Review is the first of two dedicated to the discussions and paper presentations that took place at that event, this one dedicated for the most part to history and to established writers and their works, the next (issue 115) to experimentation, new approaches and alternative voices. The Celebrating Canadian Plays and Playwrights Festival and Conference, the inspiration of playwright and director Paul Thompson and the Stratford Festival’s Education Manager, Pat Quigley, was organized as part of Stratford’s fiftieth anniversary celebrations by Quigley and her staff, Trish Cuthbertson and, especially, Melanie Kamphuis, working with Ted McGee of St. Jerome’s College, University of Waterloo, Angela Rebeiro, the Publisher of Playwrights Canada Press, and myself.
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Medenica, Ivan. "BITEF Before and After 1989: Representation to Deconstruction of Social and Cultural Paradigms." New Theatre Quarterly 37, no. 3 (July 19, 2021): 273–80. http://dx.doi.org/10.1017/s0266464x21000178.
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Ivan Medenica here analyzes the cultural shift that the Belgrade International Theatre Festival (BITEF) experienced after 1989. From its beginnings in the late 1960s until the end of the1980s, BITEF was a representation of the dominant multicultural, modernist, and progressive paradigm of Yugoslavia’s cultural policy. This was not an unambiguous position. On the one hand, modernist values were imposed by Tito’s authoritarian regime and, on the other, they were confronted with the conservative tendencies both in politics and the arts. As a multicultural and progressive platform, BITEF was one of the biggest victims in the field of the arts of Slobodan Milošević’s nationalist regime in the 1990s and the wars in former Yugoslavia. After the fall of Milošević in 2000, a complex period of tension started between the ‘reborn’ urge for democratization and internationalization, on the one hand, and persistent nationalism and conservatism, on the other. Due to its tradition, reinforced artistic ambitions, and international reputation, BITEF regained its fame. Its position today, however, is quite paradoxical. It is an anti-traditionalist and multicultural festival – within a culture and society that are becoming traditional and rather claustrophobic. Ivan Medenica is a Professor of Theatre at the University of the Arts in Belgrade in Serbia and has received the national award for theatre criticism six times. His publications include The Tragedy of Initiation, or the Inconstant Prince: The Classics and Their Masks. Medenica is also the artistic director of BITEF.
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Schulte, Hanife. "Ostermeier’s Ein Volksfeind on the Anniversary of Turkey’s Gezi Park Protests." New Theatre Quarterly 36, no. 1 (February 2020): 29–41. http://dx.doi.org/10.1017/s0266464x20000081.
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In this article Hanife Schulte discusses Thomas Ostermeier’s Ein Volksfeind, a German version of Henrik Ibsen’s An Enemy of the People that toured to the International Istanbul Theatre Festival in 2014. In borrowing Maria Shevtsova’s notion of the sociology of performance, Hanife Schulte offers a sociological examination of Ein Volksfeind’s Istanbul performances and demonstrates how the first anniversary of Turkey’s Gezi Park protests at the time of the festival influenced the performances. These protests, which began in 2013, were in resistance to the Turkish government’s urban development plan for Istanbul’s Taksim Park. In her examination of the dramaturgy and stage design of the production and its Turkish reception, Schulte argues that Ein Volksfeind’s political dramaturgy-in-progress allowed Ostermeier to adapt its touring performances in Istanbul and transform them into events in which the Turkish audiences became fellow performers and adaptors who reflected on the Gezi Park protests. She also suggests that Ostermeier showed solidarity with the Turkish people resisting political violence and oppression in tackling their local politics. Hanife Schulte has completed three years of doctoral research in Theatre and Performance Studies at Tufts University and is an alumna of the Mellon School of Theater and Performance Research at Harvard University, where she participated in the 2019 Session on Migrations.
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FitzGerald, Lisa, Eva Urban, Rosemary Jenkinson, David Grant, and Tom Maguire. "Human Rights and Theatre Practice in Northern Ireland: A Round-Table Discussion." New Theatre Quarterly 36, no. 4 (November 2020): 279–91. http://dx.doi.org/10.1017/s0266464x20000664.
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This round-table discussion, edited by Eva Urban and Lisa FitzGerald, took place on 5 July 2019 as part of the conference ‘New Romantics: Performing Ireland and Cosmopolitanism on the Anniversary of Human Rights’ organized by the editors at the Brian Friel Theatre, Queen’s University Belfast. Lisa FitzGerald is a theatre historian and ecocritic who completed postdoctoral fellowships at the Centre de Recherche Bretonne et Celtique (CRBC), Université Rennes 2 and the Rachel Carson Centre for Environment and Society, Ludwig Maximilian University of Munich. She is the author of Re-Place: Irish Theatre Environments (Peter Lang, 2017) and Digital Vision and the Ecological Aesthetic (forthcoming, Bloomsbury, 2020). Eva Urban is a Senior Research Fellow at the Senator George J. Mitchell Institute for Global Peace, Security, and Justice, Queen’s University Belfast, and an Associate Fellow of the Institute of Irish Studies, QUB. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011) and La Philosophie des Lumières dans le Théâtre Breton: Tradition et Influences (Université de Rennes, 2019). Rosemary Jenkinson is a Belfast playwright and writer of five short story collections. Her plays include The Bonefire (Rough Magic), Planet Belfast (Tinderbox), White Star of the North, Here Comes the Night (Lyric), Lives in Translation (Kabosh Theatre Company), and Michelle and Arlene (Accidental Theatre). Her writing for radio includes Castlereagh to Kandahar (BBC Radio 3) and The Blackthorn Tree (BBC Radio 4). She has received a Major Individual Artist Award from the Arts Council of Northern Ireland to write a memoir. Tom Maguire is Head of the School of Arts and Humanities at Ulster University and has published widely on Irish and Scottish theatre and in the areas of Theatre for Young Audiences and Storytelling Performance. His heritage research projects include the collection Heritage after Conflict: Northern Ireland (Routledge, 2018, co-edited with Elizabeth Crooke). David Grant is a former Programme Director of the Dublin Theatre Festival and was Artistic Director of the Lyric Theatre in Belfast. He has worked extensively as a theatre director throughout Ireland and is co-investigator of an AHRC-funded research project into Arts for Reconciliation. He lectures in drama at Queen’s University Belfast.
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Darwance, Darwance, Dwi Haryadi, Izma Fahria, Agung Samudra, Desy Ramadhanty, and Erika Erika. "CULTURAL BASED TOURISM DEVELOPMENT IN PASIR PUTIH VILLAGE TUKAK SADAI DISTRICT, BANGKA SELATAN DISTRICT THROUGH AGIK BARIK FESTIVAL." Berumpun: International Journal of Social, Politics, and Humanities 2, no. 2 (December 19, 2019): 93–105. http://dx.doi.org/10.33019/berumpun.v2i2.22.
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Education, culture and tourism are three things that cannot be separated and interconnected. Culture will develop if education develops too. By education, culture will increase the development of tourism in Indonesia. In order to improve the quality and progress of education, culture and tourism, Social Service Lecture (KKN) XIV Bangka Belitung University (UBB) 2019 Pasirputih - Sadai Desa Pasirputih region, develop tourist destinations through the program "Festival Paserpute Agik Barik" (cultural festival Pasirputih in the past), this activity aims to explore the history and culture of the original tempo of the past (past) in the Pasirputih Village, be it cultural heritage, customs, arts, culinary, traditional games, crafts, and also practice and historical habits the life of the local community in the past, which will be re-demonstrated as the superiority of the Village later and can also be introduced to the wider community as a destination for natural and cultural tourism, which will become its own characteristics and not found elsewhere.
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Tiatco, Anril Pineda, and Amihan Bonifacio-Ramolete. "Performing the Nation Onstage: An Afterthought on the University of the Philippines Sarsuwela Festival 2009." Asian Theatre Journal 27, no. 2 (September 2010): 307–32. http://dx.doi.org/10.1353/atj.2010.a413121.
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Zaiontz, Keren. "“Scrounge” and “Exploit”: Amiel Gladstone Stages Invention and Intimacy in Hippies and Bolsheviks and Other Plays." Canadian Theatre Review 133 (March 2008): 120–22. http://dx.doi.org/10.3138/ctr.133.016.
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Arn ie! Gladstone. Hippies and Bolsheviks and Other Plays. Toronto: Coach House Books, 2007. Hippies and Bolsheviks and Other Plays represents the first published volume of work by the enterprising Arnie! Gladstone, co-founder of Victoria-based Theatre SKAM. Currently an associate artist at th e Caravan Farm Theatre, Glads tone is the second Theatre SKAM artist to be published by Coach House Books. The first, Sean Dixon, the company’s “playwright out of residence” since 1998, so titled because he is based in Toronto, published a volume of plays in 2002, AWOL: Three PlaysJor Theatre SKAM. Gladstone’s collection includes three plays : The Wedding Pool, which made the rounds as a SKAM production at the 2003 Summerworks Festival, in Toronto, and the 2004 Per formance Works sho wcase, in Vancouver, and has since been performed in Victoria and Colmar, France; Lena’s Car, staged at Performance Works, in 2003, as a piece commissioned by the Solo Collective; and Hippiesand Bolsheviks, first produced by SKAM, in 2005, at the University of Victoria, and subsequently dramaturged and staged at the 2006 Alberta play Rites Festival.
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Astwood, Laura. "The Private Becoming Public." Canadian Theatre Review 104 (September 2000): 29–32. http://dx.doi.org/10.3138/ctr.104.005.
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A Woman I Know … (Una Donna Che Conosco …) is a two-hander written and performed by Alessandra di Castri, an Italian from Naples, and Laura Astwood, a Canadian from Toronto. The piece is bilingual in Italian and English, directed by Richard Fowler. Astwood, di Castri and Fowler met in the context of Primus Theatre; Fowler was the artistic director of Primus throughout its existence from 1989 to 1998, and di Castri and Astwood joined the company as apprentices in 1995. Una Donna was begun in Winnipeg and completed in Nocelle, Italy. It has been performed in Nocelle, in Naples as part of the Marzo Donna Festival and in Positano and Torella dei Lombardi in association with the Scuola di Memoria delle Donne. It will be performed in August 2000 in Highland Lake, NY, at the First Ever Catskills Experimental Theatre Festival, hosted by the North American Cultural Laboratory, and subsequently on tour across Canada, at Simon Fraser University in Vancouver, Prairie Theatre Exchange in Winnipeg, Theatre PEI in Charlottetown and various points in between.
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Fido, Elaine Savory. "Finding a Truer Form: Rawle Gibbons's Carnival Play I, Lawah." Theatre Research International 15, no. 3 (1990): 249–59. http://dx.doi.org/10.1017/s0307883300009718.
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The development of so-called ‘Carnival theatre’ in the Anglophone Caribbean has been steady and important. Rawle Gibbons, a young dramatist/director presently heading the recently established Creative Arts Centre at the St Augustine campus of the University of the West Indies in his native Trinidad, has learned to utilize ritual and festival in his playwriting in increasingly effective ways. I, Lawah is his latest play, and in it he articulates, in theatrical form, a belief in the importance of Caribbean tradition as a revitalizing, invigorating element for the community after the enervating period of colonial rule and the ever-present threat of neocolonial inertia taking its place.
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Antoniou, Michaela. "Aristophanes’ The Birds, the Epidaurus Festival, and the Onassis Cultural Centre." New Theatre Quarterly 34, no. 3 (July 13, 2018): 272–82. http://dx.doi.org/10.1017/s0266464x18000258.
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In this article, Michaela Antoniou offers a close analysis of Nikos Karathanos's 2016 production of Aristophanes’ The Birds, which was staged at the Epidaurus Festival with the support of the Onassis Cultural Centre. She argues that the context embodies Eric Hobsbawm's concept of the ‘invented tradition’, and examines its often problematic relation to the Centre, which, as a powerful and economically independent organization, occupies a dominant position in the field of theatre in Greece. The essential parameters and scope of Karathanos's performance aesthetics are analyzed through the lens of Michel Foucault and Kornelius Kastoriadis, while attention is also given to the media discourse surrounding the work. Finally, the article historicizes Karathanos's The Birds in relation to Koun's renowned 1959 production in order to examine Karathanos's intention to interpret the play as a production for his and our time. Michaela Antoniou is Teaching Fellow in Acting at the National and Kapodistrian University of Athens. She is also an actress, playwright, author, and translator, and has previously published articles on the work of Karolos Koun.
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Saputra, Feri Fanando, and Abdul Salam. "Perguruan Pencak Silat Alang Bangkeh Pauh V: Suatu Tinjauan Historis 1981-2018." Jurnal Kronologi 2, no. 1 (June 14, 2020): 103–14. http://dx.doi.org/10.24036/jk.v2i1.33.
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This Research explains about Alang Bangkeh Pauh V College of Pencak Silat in 1981-2018. This study uses a qualitative method of the processs: Heuristics (data colllection), then proceed with the process of source criticsm and interpretation of data, the final stage of historiography is historical research so that this research can be completed. Hail research shows the development of the Alang Bangkeh Pauh V tribe on its journey for 37 years in order to be able to promote Silat Pauh. Alang Bangkeh martial arts schools progressed in the period 2000 to 2018 by winning many Silat championships shaded by IPSI organizations such as the arena of penant baganti the traditional Minangkabau Martial arts festival. But a time goes by, Alang Bangkeh school has established a management system from the university leadership, secretaries,treasurers, and other members. Although the Alang Bangkeh martial arts school already has auniversiy, the management system has not yetrun well. In terms of facilities and infrastructure is very limited in the Alang Bangkeh martial arts college.This has no impacton the achievements of the Alang Bangkeh martial arts insitution in popularizing the traditional Minangkabau martial arts.
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Defraeye, Piet. "Say Nothing by Ridiculusmus: The Northern Irish Conflict in a Suitcase." Canadian Theatre Review 124 (September 2005): 86–87. http://dx.doi.org/10.3138/ctr.124.015.
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David Woods and Jon Hough, two British actors who form the theatre company Ridiculusmus, are both pursuing PhDs in Comedy at the University of Kent. They know a thing or two about comedy and have strutted their stuff touring on various stages. Their Edinburgh Festival Three Men in a Boat (1992), inspired by Jerome K. Jerome’s satirical novel, was one of their early successes. As much as Jerome’s novel hinges on place and space, so does their latest show, Say Nothing, part of the High Performance Rodeo and also on tour in Vancouver and Edmonton.
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Irobi, Esiaba. "A Theatre for Cannibals: Images of Europe in Indigenous African Theatre of the Colonial Period." New Theatre Quarterly 22, no. 3 (July 11, 2006): 268–82. http://dx.doi.org/10.1017/s0266464x06000479.
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Europe’s colonial presence on the African continent from 1885 to the 1960s produced complex discourses about race and its representation. Whereas the Europeans constructed their putative images of Africans as inferior beings through radio, television, film, and print, for a predominantly literate sector, Africans deployed a more complex and mixed set of literacies. As well as conventional forms of literature, Africans used iconographic, kinaesthetic, proxemic, sonic, linguistic, tactile, calligraphic and sartorial literacies in their indigenous festivals and ritual theatres to resist, historicize, and domesticate colonial whiteness from the nineteenth century to the present day. In this article, Esiaba Irobi offers a detailed response to Bell Hooks’s observation (in Black Looks: Race and Representation, 1992) that in the work of postcolonial critics ‘there is a continued fascination with the way white minds, particularly the colonial imperialist traveller, perceive blackness, and very little expressed interest in representations of whiteness in the black imagination’. Esiaba Irobi is an Associate Professor of International Theatre at Ohio University, Athens. Born in the Republic of Biafra, he has lived in exile in Nigeria, Britain, and the USA. His African Festival and Ritual Theatre: Resisting Globalization on the Continent and Diaspora since 1492 is due for publication by Palgrave Macmillan in 2007.