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Libros sobre el tema "Native theater"

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Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2024

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1

Elizabeth, Armstrong Ann, Johnson Kelli Lyon 1969- y Wortman William A. 1940-, eds. Performing worlds into being: Native American women's theater. Oxford, Ohio: Miami University Press, 2009.

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2

T, Darby Jaye, Fitzgerald Stephanie y University of California, Los Angeles. American Indian Studies Center., eds. Keepers of the morning star: An anthology of native women's theatre. Los Angeles: UCLA American Indian Studies Center, 2003.

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3

Kuftinec, Sonja. Theatre, facilitation, and nation formation in the Balkans and Middle East. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan, 2009.

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4

Klee, Paul. Paul Klee: Überall Theater. Bern: Zentrum Paul Klee, 2007.

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5

Bredekamp, Horst. Die Fenster der Monade: Gottfried Wilhelm Leibniz' Theater der Natur und Kunst. Berlin: Akademie, 2004.

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6

Bredekamp, Horst. Die Fenster der Monade: Gottfried Wilhelm Leibniz' Theater der Natur und Kunst. Berlin: Akademie, 2004.

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7

Christine, Hopfengart y Zentrum Paul Klee, eds. Paul Klee: Theater everywhere. Ostfildern: Hatje Cantz, 2008.

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8

Lippert, Leopold y Ralph J. Poole, eds. The Politics of Gender in Early American Theater. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839452530.

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In the late 18th and early 19th centuries, the American theater emerged as a crucial cultural space for debates around gender stereotypes, gendered conduct, sexual desire, the politics of intimacy and domesticity, female authorship, as well as the complex intersections of gender and other markers of cultural difference, such as race, ethnicity, socioeconomic class, age, or nation. This collection explores the role of gender in the formation of American theatrical culture in this period. It features essays on well-known early American dramatists such as Susanna Rowson or Judith Sargent Murray, but also sheds light on anonymous authors and more obscure theatrical practices.
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9

Klee, Paul. Paul Klee: Botanisches Theater 1924/1934. München: Städtische Galerie im Lenbachhaus, 2005.

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10

Francesco, Galli, Lorenzoni Franco 1953- y Ferri Francesca, eds. Un teatro nel paesaggio: Fotografare O Thiasos TeatroNatura. Corrazzano (Pisa): Titivillus, 2007.

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11

Blanco, John D. Counter-Hispanization in the Colonial Philippines. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463725880.

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In Counter-Hispanization in the Colonial Philippines, the author analyzes the literature and politics of “spiritual conquest” in order to demonstrate how it reflected the contribution of religious ministers to a protracted period of social anomie throughout the mission provinces between the 16th-18th centuries. By tracking the prose of spiritual conquest with the history of the mission in official documents, religious correspondence, and public controversies, the author shows how, contrary to the general consensus in Philippine historiography, the literature and pastoral politics of spiritual conquest reinforced the frontier character of the religious provinces outside Manila in the Americas as well as the Philippines, by supplanting the (absence of) law in the name of supplementing or completing it. This frontier character accounts for the modern reinvention of native custom as well as the birth of literature and theater in the Tagalog vernacular.
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12

Mariotti, Marcella, Maria Roberta Novielli, Bonaventura Ruperti y Silvia Vesco. Rethinking Nature in Post-Fukushima Japan. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-264-2.

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This volume brings together the papers presented at the international symposium Rethinking Nature in Contemporary Japan: Facing the Crisis held at Ca’ Foscari University of Venice in March 2015, as the last of a three-years research project on post-Fukushima Japan funded by the Japan Foundation. The book focuses on Religion and Thought, Fine Arts, Music, Cinema, Animation and Performing Arts (Theatre and Dance), from a multidisciplinary perspective.
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13

Anderson, Barbara Marlene. Puppetry in the second language classroom: A formative evaluation of the relationship between puppetry and the instruction of English as a second language to native Ojibway primary school children. [San Rafael, Calif.]: Faculty of the School of Arts and Sciences, Columbia Pacific University, 1994.

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14

François, Rancillac, ed. La scène natale: Le public a bien joué ce soir ; Jean Dasté, et après? : trois pièces pour raconter l'invention du théâtre public, du Vieux Colombier à la Comédie de Saint-Étienne. Paris: Amandier, 2009.

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15

Chapin-Pinotti, Elizabeth. Native American Legends: Readers Theater. Lucky Jenny Publishing, Inc., 2018.

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16

Fitzgerald, Stephanie y Jaye T. Darby. Keepers of the Morning Star: An Anthology of Native Women's Theater. Amer Indian Studies Center, 2003.

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17

Darby, Jaye T., Patrick Lonergan, Courtney Elkin Mohler, Christy Stanlake y Kevin J. Jr Wetmore. Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces. Bloomsbury Publishing Plc, 2019.

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18

Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces. Bloomsbury Publishing Plc, 2020.

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19

Darby, Jaye T., Patrick Lonergan, Courtney Elkin Mohler, Christy Stanlake y Wetmore Kevin J. Jr. Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces. Bloomsbury Publishing Plc, 2019.

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20

Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces. Bloomsbury Publishing Plc, 2020.

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21

Riccio, Thomas. Reinventing Traditional Alaska Native Performance (Studies in Theatre Arts, V. 17). Edwin Mellen Press, 2003.

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22

Aboriginal Drama And Theatre (Critical Perspectives on Canadian Theatre in English). Playwrights Canada Press, 2006.

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23

Theatre Translation Theory and Performance in Contemporary Japan: Native Voices Foreign Bodies. Taylor & Francis Group, 2014.

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24

Curran, Beverley. Theatre Translation Theory and Performance in Contemporary Japan: Native Voices Foreign Bodies. Taylor & Francis Group, 2016.

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25

Curran, Beverley. Theatre Translation Theory and Performance in Contemporary Japan: Native Voices Foreign Bodies. Taylor & Francis Group, 2014.

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26

Curran, Beverley. Theatre Translation Theory and Performance in Contemporary Japan: Native Voices Foreign Bodies. Taylor & Francis Group, 2014.

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27

Theatre translation theory and performance in contemporary Japan: Native voices, foreign bodies. Manchester, UK: St. Jerome Pub., 2008.

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28

Native North American theater in a global age: Sites of identity construction and transdifference. Heidelberg: Winter, 2007.

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29

Wilmer, S. E. Native American Performance and Representation. University of Arizona Press, 2011.

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30

Native American Performance and Representation. University of Arizona Press, 2011.

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31

Thunder, Julie Pearson-Little. Native emergence theater, 1975-1985, and the enactment of Indian theatrical space by Red Earth Performing Arts Company, Daystar Dance Company and American Indian Theater Company of Oklahoma. 2006.

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32

Native Americans as shown on the stage, 1753-1916. Metuchen, N.J: Scarecrow Press, 1988.

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33

Phillips, Katrina. Staging Indigeneity: Salvage Tourism and the Performance of Native American History. University of North Carolina Press, 2021.

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34

Staging Indigeneity: Salvage Tourism and the Performance of Native American History. University of North Carolina Press, 2021.

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35

Folktales on Stage: Children's Plays for Reader's Theater (or Readers Theatre), With 16 Play Scripts From World Folk and Fairy Tales and Legends, Including Asian, African, Middle Eastern, European, and Native American. Shepard Publications, 2003.

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36

Reed, Nat. Reader's Theatre I: Native Legends. Rainbow Horizons Publishing Inc., 2006.

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37

Foreign and native on the English stage, 1588-1611: Metaphor and national identity. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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38

Sarkar, Nirjhar. Theatre As Alter/ Native in Derek Walcott. Vernon Art and Science Inc., 2023.

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39

Theatre As Alter/ Native in Derek Walcott. Vernon Art and Science Inc., 2023.

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40

Yunhwa Rao, Nancy. Shaping Forces, Networks, and Local Influences. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040566.003.0002.

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This chapter surveys the historical context of the 1920s renaissance of Chinese opera theaters in the United States, including social, economic, cultural, and political forces of nation-states that helped shape the Chinese theater network linking China, the United States, Canada, and Cuba. It represents an important shift of the discourse of American musical history from the traditional focus of Atlantic World to that of the Pacific, presenting Chinatown theaters of North America as products of complex transnational forces. It also considers the symbolic significance of language and the impact of transnational network. The chapter therefore challenges the traditional characterization of the Chinese theater community as recalcitrant, demonstrating the many ways in which Chinese and Chinese American performers, owners, and patrons were active participants in the cultural milieu of North America in this period.
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41

Kelz, Robert. Competing Germanies. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501739859.001.0001.

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Following World War II, German antifascists and nationalists in Buenos Aires believed theater was crucial to their efforts at community-building, and each population devoted considerable resources to competing against its rival onstage. This book tracks the paths of several stage actors from European theaters to Buenos Aires and explores how two of Argentina's most influential immigrant groups, German nationalists and antifascists (Jewish and non-Jewish), clashed. Theatrical performances articulated strident Nazi, antifascist, and Zionist platforms. Meanwhile, as their thespian representatives grappled onstage for political leverage among emigrants and Argentines, behind the curtain, conflicts simmered within partisan institutions and among theatergoers. Publicly they projected unity, but offstage nationalist, antifascist, and Zionist populations were rife with infighting on issues of political allegiance, cultural identity and, especially, integration with their Argentine hosts. The book reveals interchange and even mimicry between antifascist and nationalist German cultural institutions. Furthermore, performances at both theaters also fit into contemporary invocations of diasporas, including taboos and postponements of return to the native country, connections among multiple communities, and forms of longing, memory, and (dis)identification. Sharply divergent at first glance, their shared condition as cultural institutions of emigrant populations caused the antifascist Free German Stage and the nationalist German Theater to adopt parallel tactics in community-building, intercultural relationships, and dramatic performance. Its cross-cultural, polyglot blend of German, Jewish, and Latin American studies gives the book a wide, interdisciplinary academic appeal and offers a novel intervention in Exile studies through the lens of theater, in which both victims of Nazism and its adherents remain in focus.
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42

Appleford, Robert. The Indian "act": Postmodern perspectives on native Canada theatre. 1999.

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43

(Editor), Hanay Geiogamah y Jaye T. Darby (Editor), eds. Stories of Our Way: An Anthology of American Indian Plays (Native American Theatre Series Number 1) (Native American Theatre Series Number 1). University of California, American Indian Stu, 1999.

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44

Joncus, Berta. Ballad Opera. Editado por Robert Gordon y Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.1.

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Between 1728 and 1760 ballad opera transformed London’s theatre by making English song the key to commercial success for stage works. By generating the first modern popular singers, it became a prototype for present-day British and American musical theatre. The jaw-dropping success of John Gay’s Beggar’s Opera established a new genre, of which three types developed, according to venue. Licensed theatres staged sentimental, putatively native ‘operas’ tailored around star sopranos such as Kitty Clive. Non-licensed theatres accommodated ballad operas with political intent, or those of particular local interest. Finally, ballad operas written for publication, not staging, deployed song to expose court scandal or protest against the government. The appeal of ballad opera depended on its songs, which pretended to instruct by appealing to popular prejudice, particularly against women. Although the Licensing Act of 1737 discouraged new works, staples of ballad opera still flourished on the London stage throughout the century.
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45

Fair, Alistair. ‘The Second Positive Stage’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807476.003.0005.

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This chapter acknowledges the emergence within Britain of ‘brutalism’ during the late 1950s as a kind of architectural style that prized material and structural honesty, but argues that there may be more productive ways in which to consider new theatres of the 1960s. The chapter demonstrates how a selection of these theatres might be understood in terms of their contribution to broader debates about the nature of public architecture and the development of modernism. Examples considered include theatres by Basil Spence, as well as the Nottingham Playhouse, the National Theatre, the Young Vic in London, and the Crucible in Sheffield.
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46

Towgood, Joanne. George Ryga and Thomas Highway: The native voice in Canadian theatre. [Toronto], 1991.

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47

Conran, Anthony. Theatre of Flowers. Gomer Press, 1998.

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48

Grant, Katrina. Landscape and the Arts in Early Modern Italy. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721530.

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Landscape and the Arts in Early Modern Italy: Theatre, Gardens and Visual Culture argues that theatre, and the new genre of opera in particular, played a key role in creating a new vision of landscape during the long seventeenth century in Italy. It explores how the idea of gardens as theatres emerged at the same time as opera was developed in Italian courts around the turn of the seventeenth century. During this period landscape painting emerged as a genre and the aesthetic of designed landscapes and gardens was wholly transformed, which resulted in a reconceptualization of the relationship between humans and landscape. The importance of theatre as a key cultural expression in Italy is widely recognised, but the visual culture of theatre and its relationship to the broader artistic culture is still being untangled. This book argues that the combination of narratives playing out in natural settings (Arcadia, Parnassus, Alcina), the emotional responses elicited by sets and special effects (the apparent magical manipulation of the laws of nature), and, the way that garden theatres were used for displays of power and to enact princely virtue and social order, all contributed to this shifting idea of landscape in the seventeenth century.
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49

Fair, Alistair. ‘Escaping From Boarded Concrete and Modern Finishes’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807476.003.0011.

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This chapter examines how the idea of the modern playhouse as a substantial, purpose-built structure was challenged between the 1960s and the 1980s. It begins with theatres conceived in a spirit of impermanence and then continues, after brief discussion of more ‘participatory’ spaces, with mobile performance venues. The second half of the chapter considers a trend which became prominent during the 1970s, namely the restoration of Victorian and Edwardian theatres. Although in one sense the rehabilitation of these theatres represented a critique of modern architecture, the nature of the alterations made to these buildings in fact developed many of the same themes that also shaped the design of contemporaneous new theatres, as the concluding examples of York Theatre Royal and Liverpool Playhouse demonstrate.
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50

Fair, Alistair. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807476.003.0001.

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Historians to date have paid little attention to the new civic, repertory, and university theatres that were built across Britain between the 1950s and the 1980s. This period saw debates about the nature of performance and the actor–audience relationship, but it also witnessed a significant change in the way that the arts were funded in Britain. The introduction of subsidy for the arts in the 1940s meant that certain kinds of theatre were increasingly understood as a public amenity. New conceptions of theatre’s purpose prompted new approaches to the design of theatre buildings, and the emergence of a consciously modern playhouse.
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