Bibliografías temáticas / Four Seasons Theatre

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Literatura académica sobre el tema "Four Seasons Theatre"

Autor: Grafiati

Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Four Seasons Theatre"

Anderson, Peter. "Breaking All Four Walls: Open-Air Theatre at the Caravan Farm". Canadian Theatre Review 76 (septiembre de 1993): 8–12. http://dx.doi.org/10.3138/ctr.76.002.

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Theatre began outdoors, around fires, celebrating important passages, acknowledging the cycles of nature and the changes of seasons, and affirming our sense of community and the essential mystery of life. By recognizing theatre’s roots in ritual – in community celebration – we re-establish connection with things larger than ourselves and are revitalized. It is to these roots that the Caravan Farm Theatre, located on an 80-acre farm five miles northwest of Armstrong in the heart of B.C.’s Okanagan farming district, seeks to return. Since 1983, the Caravan Farm Theatre, formerly the horse-drawn Caravan Stage Company (now a separate legal entity based in Ontario), has brought professional performing arts to rural B.C. through theatre workshops, tours, and open-air theatre performed on its farm. Under the artistic direction of Nick Hutchinson1 the Caravan has remained committed to a collaborative approach to theatre that is enhanced and supported by its rural and communal lifestyle.

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Molony, Martin G. "Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952". Estudios Irlandeses, n.º 18 (17 de marzo de 2023): 67–78. http://dx.doi.org/10.24162/ei2023-11392.

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In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. This article examines the context of the Group’s formation, its long-forgotten experimental approach, and its considerable contribution to the development of the arts in Ireland.

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Gilbert, Reid. "Bard on the Beach in Vancouver: Twenty Years On". Canadian Theatre Review 140 (septiembre de 2009): 93–94. http://dx.doi.org/10.3138/ctr.140.019.

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The 2009 season marks the twentieth anniversary of one of Canada’s great theatre success stories — Bard on the Beach, in Vancouver. By any standard, Bard’s development from one show (Midsummer Night’s Dream) in a rented tent in 1990 to four plays in repertory in two spaces in 2009 is a remarkable history and one of which founder and artistic director Christopher Gaze (and his Board and colleagues) should be proud. What is as praiseworthy to me, however, is the contiguous artistic development of Bard performance; increasingly, over the past number of seasons, the shows have been original, innovative conceptions that often work wonderfully well.

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Simas, Richard. "Vancouver’s PuSh 2008 and the Phenomenon of Festivals". Canadian Theatre Review 138 (marzo de 2009): 43–47. http://dx.doi.org/10.3138/ctr.138.008.

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Montreal and Toronto are arguably Canadian arts festival capitals, boasting heady and never-ending streams of performing arts, film, jazz, winter, literary, new music and ethnic festivals and cultural-tourist events. However, it may be instructive to look thousands of kilometres due west to examine the PuSh International Performing Arts Festival, located in the booming Pacific Rim and 2010 Olympic host city of Vancouver. Guided by executive director Norman Armour and co-founded with local theatre director Katrina Dunn, “the PuSh Festival engages and enriches audiences with adventurous contemporary performance … work that is visionary, genre-bending, startling, and original” (Press release). The organization’s October 2007 news release (“PuShing beyond the Borders”) and Web-site archives indicate that PuSh has grown exponentially in its six years. It now boasts a history consisting of two initial three-show seasons (2003—4) that morphed into festival formats in the last four years (2005—8), becoming an essential fixture on the Vancouver arts scene.

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Emeljanow, Victor. "Pleasure Gardens. Performing Arts Resources, vol. 21. Edited by Stephen M. Vallillo and Maryann Chach. New York: Theatre Library Association, 1998; pp. 105. $30 cloth; Their Championship Seasons: Acquiring, Processing, and Using Performing Arts Archives. Performing Arts Resources, vol. 22. Edited by Kevin Winkler. New York: Theatre Library Association, 2001; pp. 142. $30 cloth." Theatre Survey 45, n.º 1 (mayo de 2004): 133–35. http://dx.doi.org/10.1017/s0040557404290081.

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The annual publication of the Theatre Library Association is designed “to gather and disseminate scholarly articles dealing with the location of resource materials” relating to all media as well as popular entertainments, the evaluation of those resources, and to include as well “monographs of previously unpublished original material.” The volumes are slim ones, so we should not expect coverage of the many theatre collections available to scholars and practitioners, but rather a highly selective series of essays reflecting the priorities of the Association or of the individual volume editors. This certainly appears to be the case here: the 1998 volume concerns itself with eighteenth- and nineteenth-century American pleasure gardens, whereas, after a publication hiatus of three years, the 2001 volume is focused around the acquisition, scope, and use of four major archives—those of the Joseph Papp/New York Shakespeare Festival and of Lucille Lortel in the New York Public Library of the Performing Arts, the Lawrence and Lee Theatre Research Institute at Ohio State University, and the holdings of the Weill—Lenya Research Center in New York. As a consequence, the tones of the two volumes are very different, as is their utility. The first volume appears to be directed toward a disinterested readership; the second addresses those who might actually use the particular collections.

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Lidington, Tony. "New Terms for Old Turns: the Rise of Alternative Cabaret". New Theatre Quarterly 3, n.º 10 (mayo de 1987): 107–19. http://dx.doi.org/10.1017/s0266464x00008605.

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It is ironic that interest in the roots of ‘alternative comedy’ is probably greater than ever before just as the most successful of its exponents are moving, in commercial terms, firmly into the mainstream. Perhaps that process is inevitable – and perhaps the drift into sitcoms and voice-overs does not matter so long as there remains a ferment of new activity, jostling for the less lucrative exposure of the smaller venues and the new cabaret circuit. The author of this survey, Tony Lidington, was himself in at the beginning of the ‘Pierrotters’ – which claims to be the first concert party to have existed in Brighton since the war, having now played four summer seasons there – and in 1983 he also founded the Bright Red Theatre Company. Here, he traces the development of the phenomenon of ‘alternative cabaret’ from its social and cultural beginnings, and looks at the present scene from the perspective of some fellow south coast performers – whose problems and ambitions are, he feels, representative of a nationwide network of diverse and, thankfully, often diverting talent.

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MacArthur, Michelle. "The Pedagogy of Grief: Lessons from Making Zoom Theatre During a Pandemic". Canadian Theatre Review 188 (1 de octubre de 2021): 49–53. http://dx.doi.org/10.3138/ctr.188.012.

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While the closure of theatres across Canada and around the world when the pandemic hit in March 2020 caused widespread feelings of loss amongst theatre practitioners and educators, the institutional pressures to find ways to survive and move on prevented many from processing their grief. This article examines The Stream You Step In (TSYSI), a series of four original Zoom plays co-produced by Outside the March and the University of Windsor in 2020, through the intersecting perspectives of pedagogy and grief. TSYSI was a response to grief on different levels: graduating students’ grief for their mainstage roles, which they had been working towards since entering the program but which they lost when the pandemic forced the cancellation of their planned theatre season; theatremakers, educators, and audiences’ collective grief for the loss of live theatre and the community it creates; and the grief experienced by society at large for the loss of Black and Indigenous lives, magnified in summer 2020 by the global outrage in response to the death of George Floyd and many others. Through reflection on two TSYSI plays, Karen Hines’s The River of Forgetfulness and David Yee’s good white men, this article stresses the importance of making space for grief within pedagogy. It argues that a grief-led creative process can honour what was lost, create and strengthen community, and foster opportunities to make new meaning. As theatres and educational and training institutions continue to face uncertainty, this article’s provocations contribute to ongoing conversations around ethics, representation, and collaboration in Zoom theatre.

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Craven, Ian. "Adaptation, Action, Response: ‘Four Horsemen of the Apocalypse’ at the Citizens Theatre, Glasgow". New Theatre Quarterly 8, n.º 31 (agosto de 1992): 203–20. http://dx.doi.org/10.1017/s0266464x00006837.

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Several of the novels of the Spanish writer Vicente Blasco Ibanez (1867–1928) have provided the basis for theatrical adaptations: but the version of The Four Horsemen of the Apocalypse (1916) by Peter Granger-Taylor, staged in March 1990 at the Citizens Theatre, Glasgow, was the first for sixty years. In the following feature, Ian Craven, who teaches in the Department of Theatre, Film, and Television Studies at the University of Glasgow, provides a full account of Jon Pope's production, considering questions of adaptation, performance, and response, and also paying special attention to the influence of the screen versions of 1921 and 1962. His analysis is complemented by extracts from an interview with the adapter and director. A study by Margaret Eddershaw of Philip Prowse's production of Brecht's Mother Courage, in which Glenda Jackson took the title role during the same season at the Citizens, appeared in NTQ28 (November 1991).

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Wagner, Anton. "Infinite Variety or a Canadian 'National' Theatre: Roly Young and the Toronto Civic Theatre Association, 1945-1949". Theatre Research in Canada 9, n.º 2 (enero de 1988): 157a. http://dx.doi.org/10.3138/tric.9.2.157a.

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The founding of the Civic Theatre Association in Toronto in 1945, and its four-season production history until 1949, provide a microcosm of the embryonic development stage of post-World War II indigenous Canadian theatre. Created through the merger of fourteen Toronto-area amateur companies under the leadership of the film and theatre critic Roly Young (1903-48), the CTA sought to finance adequate theatre facilities and to provide work opportunities and appreciative audiences for Canadian artists and playwrights. Young's opposition to the principle of government arts subsidies to create a Canadian 'national' theatre placed him in direct conflict with the organizational work of John Coulter and Herman Voaden at the Arts and Letters Club and the Canadian Arts Council.

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Dugan, James. "Gwen Pharis Ringwood at the University of Calgary". Canadian Theatre Review 136 (septiembre de 2008): 62–64. http://dx.doi.org/10.3138/ctr.136.012.

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The Drama Department at the University of Calgary has produced an increasing number of Canadian plays since it was founded in 1967. We have never had an explicit policy regarding the production of Canadian or Alberta plays. The founding principle of Department production choices was to mount four plays per year from the various periods of western theatre history over a four-year cycle and to study these plays in the Dramatic Literature and Theatre History classes. Each year, a modern play and a contemporary play were to be produced, plus two plays from more distant historical periods. Students would, therefore, study theatre history in the context of production and, over four years, would cover all of western theatre history. The reason for establishing this model lay in the antipathy of the early members of the Department toward the typical chronological theatre history survey courses, which usually had no relation to plays being produced. Several of the first members of the Department had an interest in directing plays from all periods of theatre history, so the model worked fairly well for several years. Over time, with faculty turnover and the increasing interest of new faculty in Canadian theatre history, this model began to break down. Another major factor was the introduction of graduate programs in directing and design. Graduate students direct their thesis productions in the department's main season, and they typically are neither prepared for nor interested in directing period pieces. Successive generations of graduate students have demonstrated increasing interest in Canadian theatre. Furthermore, after the Canadian theatre history course was added to the curriculum in 1982, it was taught for many years by scholars who tended not to direct productions in the department.

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Tesis sobre el tema "Four Seasons Theatre"

Olmez, Husniye Nihan. "The Analysis Of Theatre Plays For Children Staged By The State Theatre And Private Theatres In 2008-2009 Theatre Season In Bursa". Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611061/index.pdf.

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The aim of this study is to investigate theatre plays for children staged by the State Theatres and private theatre companies in one specific theatre season in Bursa in terms of their essential language, physical, educational, entertainment and social characteristics. More specifically, the present study examines appropriateness of theatre plays for children in term of these essential characteristics stated by the experts and also opinions of audiences, parents, teachers, and professionals gained by interviews. Twelve preschool children between the ages of 5 and 6, ten parents who had 5 or 6-year-old children, and two preschool drama teachers were asked about their opinions after attending one or more of the theatre plays which were chosen for the study. The theatre plays which were chosen for the study were also scored according to the five different essential characteristics by two coders by using the &ldquo
theatre for young audiences evaluation rubric&rdquo
which was developed by the researcher based on the literature. The study presented the composition of the information gained from the interviews and the characteristics scores of each theatre play. The results revealed that As an outcome, this study documented general information about the existing, required and desired characteristics of theatre plays for children
specific information about the current status of theatre plays for children in Bursa
and also implications and suggestions for parents, educators, playwrights, theatre directors and further studies.

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Earle, Jen. "Deployable Architecture: A Seasonal Theatre for the Halifax Commons". 2012. http://hdl.handle.net/10222/15220.

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This thesis is an exploration in deployable architecture, focusing on long span structural design. The application for the design will be a summer theatre for the Halifax Commons. The deployment of the structure will be for a five month duration, therefore important design considerations will be durability, waterproofing, as well as assembly, disassembly and storage.

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Libros sobre el tema "Four Seasons Theatre"

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., season 1899-1900, programme: Friday, December 8th, Otis Skinner and his company, including Miss Nanette Comstock, will present Henry Arthur Jones' new comedy in four acts, entitled "The liars" .. [London, Ont.?: s.n., 1986.

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Grand Opera House (London, Ont.), ed. Programme, Grand Opera House, London, Ont.: Season 1898-9, Tuesday, May 23rd, engagement of Otis Skinner, presenting Rosemary, a comedy in four acts, by Louis N. Parker and Murray Carson .. [London, Ont.?: s.n., 1986.

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Toneelhuis, ed. Zes memo's voor een nieuw seizoen = Six memos for a new season = Six propositions pour une nouvelle saison. Antwerpen: Bebuquin, 2020.

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Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1897-98 : Friday night and Saturday matinee, the young romantic actor Mr. Donald Robertson and ...Miss Brandon Douglass in the romantic tragedy in four acts The man in the iron mask .. [London, Ont.?: s.n., 1986.

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Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1898-9, wednesday and Thursday Sept. 21st and 22nd, the beautiful southern actress Miss Lorraine Hollis, supported by the Lorraine Hollis Stock Company, in the society melo-drama in prologue and four acts "The tigress" .. [London, Ont.?: s.n., 1986.

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Ilbon munhŏn sok ŭi Yi Sun-sin p'yosang: The image of Yi Sun-sin in Japanese literature. Sŏul: Minsogwŏn, 2022.

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Pollack, Howard. The Golden Apple. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0018.

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One of Latouche’s masterpieces, the opera The Golden Apple, with composer Jerome Moross, reimagines the Judgment of Paris story and the Homeric epics through the prism of early-twentieth-century America. Hanya Holm directed, and William and Jean Eckart did the memorable designs. First premiering at the Phoenix Theatre off-Broadway, it moved to Broadway for a short run there. Although more a critical than a popular sucess—it won the Donaldson Award, the Page One Award, and the New York Critics’ Circle Award for the season’s best musical—it remains a favorite among connoisseurs of American musical theater.

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Jeffs, Kathleen. Staging the Spanish Golden Age. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819349.001.0001.

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This book offers first-hand experiences from the rehearsal room of the Royal Shakespeare Company’s 2004–5 Spanish Golden Age season in order to put forth a collaborative model for translating, rehearsing, and performing Spanish Golden Age drama. Building on the RSC season, the volume proposes translation and communication methodologies that can feed the creative processes of working actors and directors, while maintaining an ethos of fidelity with regards to the original texts. A successful theatrical ensemble thrives on the mingling of these different voices directed towards a common goal. The work carried out during this season has repercussions in the areas comedia critics debate on the page; each of the chapters engages with one area of these overlapping disciplines. Now that the Royal Shakespeare Company’s Spanish Golden Age season has closed, this book posits a model for future productions of the comedia in English, one that recognizes the need for the languages of the scholar and the theatre artist to be made mutually intelligible by the use of collaborative strategies, mediated by a consultant or dramaturg proficient in both tongues. This model applies more generally to theatrical collaborations involving a translator, writer, and director, and is intended to be useful for translation and performance processes in any language.

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Williams, Gareth. The 306. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450597.

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The 306 is a trilogy of music-theatre works co-created by composer Gareth Williams and writer Oliver Emanuel that explore the stories of the 306 British soldiers executed during World War 1. Many of these 306 men, executed for cowardice, desertion and mutiny are not listed on any official memorials, even after they were conditionally pardoned by the British Government in 2006. This work gathered all of these names for the first time, listing them in song to complete the trilogy. As a part of 14-18 NOW (the UK-wide commemorative cultural program of work from 2016 – 2018) The 306 explored ideas of heroism and protest, by looking at this lesser known, deliberately forgotten, part of our national storyabout the cultural legacy of World War 1. Drawing on primary documents such as letters and telegrams from the front lines, protest songs and documents describing the women’s peace movement in Glasgow, music hall and classical repertoire, as well as contemporary interviews with family members of those executed for cowardice during WW1, the stories and songs were developed continuously from 2013 through to 2018, in residencies, workshops, and rehearsals. 306 Dawn and 306 Day were written for an ensemble of singing actors, and Red Note Ensemble (piano, violin and cello), while 306 Dusk was created for three singing actors, piano, string quartet, and community choir of 40 singers formed in Perth for the production. Throughcomposed across different productions in three consecutive seasons, the work challenges and progresses the role and status of live music in Scottish theatre. The music has been recorded as an album, funded by the Imperial War Museum, and was released by the National Theatre of Scotland in 2020.

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Jeffs, Kathleen. Rehearsal and Translation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819349.003.0003.

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This chapter discusses the degree to which the texts in the RSC’s Spanish Golden Age season accomplished Boswell’s goal for these to be ‘accurate translations’ and ‘not adaptations’. Despite both theoretical and practical problems presented by using a ‘literal’ translation as part of the translation process of the comedia, it is a valuable step in translating plays of the Golden Age for English audiences. The wider purpose of this chapter is to develop a vocabulary and a vision of how the literal-to-performance-text transmission process might be improved. This allows for a more symbiotic relationship between the work of scholars, critics, and translators on the one hand, and that of theatre professionals on the other, in order to create a more robust comedia performance tradition and a model which will be useful for other foreign translations.

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Capítulos de libros sobre el tema "Four Seasons Theatre"

Bennett, Michael Y. "Conclusion: For All Seasons—The Particulars and the Universals of Man in Bolt’s A Man for All Seasons". En Narrating the Past through Theatre, 74–80. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137275424_5.

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Saunders, Graham. "“A Shop Window for Outrage”: Harold Pinter’s Ashes to Ashes, In-Yer Face Theatre and the Royal Court’s 1996 West End Season". En After In-Yer-Face Theatre, 37–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_3.

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Wadleigh, Paul. "Staging Mid-Victorian Drama: Four Seasons at Pullman’s Summer Palace". En Nineteenth Century British Theatre, 51–64. Routledge, 2015. http://dx.doi.org/10.4324/9781315681443-ch-4.

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Bordman, Gerald. "1951-1952". En American Theatre: A Chronicle of Comedy and Drama, 1930-1969, 300–307. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195090796.003.0022.

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Abstract Quantitatively the number of novelties held steady in the new season. But although the Daily News’s John Chapman, writing as editor of the Best Plays series, thought the theatrical year had been “not too bad,” he acknowledged that his colleagues generally put a less kind value on it. The public apparently agreed with the dissenters. Only one play ran for more than a year, and only four others ran even six months, with one of these, Gigi, still ending up in the loss column despite 219 performances. Seasons rarely got off to flying starts, and this season was no exception. Echoing one of last year’s features, it began with a London hit that found no welcome on Broadway. Aimee Stuart’s Lace on Her Petticoat (9- 4-51, Booth) was set in 1890 Scotland and examined the problem of class distinctions.

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Bordman, Gerald. "1936-1937". En American Theatre: A Chronicle of Comedy and Drama, 1930-1969, 138–54. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195090796.003.0007.

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Abstract In the wake of so generally acclaimed a season as 1935- 36, it could hardly be hoped that the new theatrical year would be as rewarding. It was not. Most sadly, there was a noticeable drop in quality. Moreover, the decrease in the number of new plays produced, which had begun with the coming of the Depression, had leveled off for a few seasons, then had resumed last year, continued. As usual, counts varied, with the Times, apparently excluding Federal Theatre Project offerings, tallying eighty-three and Variety, more inclusive, ninety-four. The reasons for both drops-numbers and qualitywere laid by many pundits squarely at the feet of men three thousand miles away: Hollywood producers. In 1935-36 possibly half of Broadway’s shows had been mounted with Hollywood money.

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Price, Curtis, Judith Milhous y Robert D. Hume. "Opera under Gallini (1785–1790)". En Italian Opera in Late Eighteenth-Century London, 335–436. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198161660.003.0006.

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Abstract The four seasons between 1785 and the destruction of the King’s Theatre in June 1789 were operatically the best of any during the last two decades of the eighteenth century. London came closer to being pre-eminent in Italian opera than at any time since the 1720s. No wonder Mozart and Haydn both had hopes of crossing the Channel.

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Bordman, Gerald. "1965-1966". En American Theatre: A Chronicle of Comedy and Drama, 1930-1969, 402–9. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195090796.003.0036.

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Abstract The parade of disappointing seasons continued. Only somewhere between thirty-three and thirty-eight new opened at the Shubert on May 3, remained before the footlights for only six weeks. plays opened, and the few truly memorable works all came from overseas. Neither the Pulitzer committee nor the Drama Critics Circle bestowed their awards on any native effort. In the former instance, it meant that no Pulitzer Prize had been awarded in three out of the last four seasons. If things were bad onstage, playgoers occasionally found some small relief at the box office, where a cut in the tax on theatre tickets reduced prices fractionally. Of course some producers tried to keep the difference for themselves, with the result that top tickets, heretofore basically uniform, now could be $7.00, $7.20, $7.25, or $7.50. In a few instances, such as The Impossible Years, patrons did not benefit, since the comedy’s producers did away with a cheaper weekday top and asked $7.50 for all performances.

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Price, Curtis, Judith Milhous y Robert D. Hume. "Opera under Taylor and his Trustees (1781–1785)". En Italian Opera in Late Eighteenth-Century London, 260–334. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198161660.003.0005.

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Abstract Few periods in the history of the King’s Theatre can match the four seasons between 1781 and 1785 for managerial chaos and artistic indirection. The emergence of William Taylor in autumn 1781 as the principal proprietor in succession to Sheridan and the series of unmitigated financial disasters that followed have already been discussed in Chapter 2. Their effect on opera production was not, however, straightforward and did not prove immediately disastrous.

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Bordman, Gerald. "1872–1873". En American Theatre, 49–61. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195037647.003.0004.

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Abstract Although contemporary observers might not have agreed with the conclusion, the 1872-73 season seems one of transition. Of course, the view comes from the vantage of more than one hundred years, and the transition was quiet if steady. Yet change was everywhere. That ever present terror of the era, fire, which had destroyed Niblo’s late in the preceding season, blazed anew this year, removing forever the failing Lina Edwin’s Theatre (recently converted to minstrelsy) and gutting Daly’s Fifth Avenue (scarcely daunting the intrepid Daly and his determined band). The other side of the coin was the opening of a major new home for drama. And for several seasons to come, much of that drama would be of French origin. The floodgates that Daly had unlocked earlier with Frou-Frou were now to be opened wide. Of course, English drama continued to be a mainstay at all the firstclass theatres, and its allure would be potent for seasons ahead.

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Bordman, Gerald. "1894–1895". En American Theatre, 365–80. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195037647.003.0026.

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Abstract Except possibly for the succession of marvelous seasons that so rightly excited theatregoers beginning about the time of World War I, great theatrical years rarely follow one another. Coming after the brilliant showing made by the previous season, 1894-95 was no exception. True, two of the best 19th-century English comedies had their New York debuts, and England also sent over some other good plays and noteworthy players, one of whom gave producer-star, Sadie Martinot, told the cast she could not pay their salaries.

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Informes sobre el tema "Four Seasons Theatre"

Rogers, Amanda. Cambodian Audience Engagement in the Performing Arts: Cambodian Living Arts 2022 Cultural Season. Swansea University, noviembre de 2023. http://dx.doi.org/10.23889/sureport.65084.

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Project Report There is growing research on arts audiences - particularly regarding theatre and dance (Sedgman 2019; Walmsley 2019; Reason et al 2022). However, much of this work remains centred on the ‘Global North’ and there is little published research on arts audiences in South East Asia in general, and Cambodia in particular. The exception to this is our previous report (Rogers et al 2021) which was the first time that research has examined audience composition, understanding and preferences for the performing arts in Phnom Penh. This research raised a bigger question around who the arts are for and highlighted that young people did not always understand what they were watching. The project discussed here builds on this previous work, as it sought to further understand the composition of audiences attending Cambodian performance events, examine their reactions, and consider how using simple forms of technology may promote audience engagement and understanding. The research used Cambodian Living Arts’ (CLA) 2022 Cultural Season of performances, workshops, and talks as a case study through which to experiment with this and other methodologies. The Cultural Season (titled Action Today: Consequences Tomorrow) was held in Phnom Penh and then toured across Cambodia, also giving the research the unique opportunity to find out more about arts audiences in the provinces. The findings provide insights into the level of knowledge and understanding of the arts among different audiences across Cambodia, their preferences in terms of types of arts consumed, and the choices surrounding their participation and involvement in the arts.

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