Access your Project MUSE content using one of the login options below Close(X)
Browse Results For:
Best known as a novelist, George Sand (1804–1876) was also arguably the most successful woman dramatist in history. More than twenty of her plays were staged in major Paris theaters to widespread popular and critical acclaim. Translated here for the first time into English are her two most famous full-length comedies, The Marquis de Villemer and Françoise, as well as her three major one-act plays, The Paving Stone, The Japanese Lily, and A Good Deed Is Never Wasted. Noted for their lively characterization, sparkling dialogue, and deft constructions, her plays reflect the passion and generosity of her own character, as well as a quick-witted sense of humor. The translations are preceded by an introduction outlining Sand’s theatrical career, the main themes and characteristics of her plays, and critical appraisals from her own generation to the present day. The translations are followed by notes and a bibliography.
Hannah Arendt, the Two Adornos, and Walter Benjamin
Hannah Arendt, Walter Benjamin, and Theodor W. Adorno were intellectual giants of the first half of the twentieth century. The drama Foreplay explores their deeply human and psychologically intriguing private lives, focusing on professional and personal jealousies, the mutual dislike of Theodor Adorno and Hannah Arendt, the association between Walter Benjamin and Georges Bataille, and the border between erotica and pornography.
[Re]claiming Performance Space in Kenya
Getting Heard: (Re)claiming Performance Space is the third in a series of publications on art, culture and society released by Twaweza Communications. The aim is to bring to the fore conversations taking place in Kenya about identity, creativity, nationalism and the generation of knowledge. The series is also about the pursuit of freedom through arts, media and culture. In Getting Heard the performance space is shown to offer wider possibilities for knowledge creation. It shows that in post-colonial Africa political leaders have consistently performed over their subjects at local and national levels. There is discussion of: Kenya National Theatre, Story Telling, Radio Theatre, Translation, African Languages, Music, Media and Mungiki This volume opens a window to our understanding of post-colonial Africa through performances.
Ghana's Concert Party Theatre
Catherine M. Cole
An engaging history of Ghana's enormously popular concert party theatre.
"... succeeds in conveying the exciting and fascinating character of the concert party genre, as well as showing clearly how this material can be used to rethink a number of contemporary theoretical themes and issues." -- Karin Barber
Under colonial rule, the first concert party practitioners brought their comic variety shows to audiences throughout what was then the British Gold Coast colony. As social and political circumstances shifted through the colonial period and early years of Ghanaian independence, concert party actors demonstrated a remarkable responsiveness to changing social roles and volatile political situations as they continued to stage this extremely popular form of entertainment. Drawing on her participation as an actress in concert party performances, oral histories of performers, and archival research, Catherine M. Cole traces the history and development of Ghana's concert party tradition. She shows how concert parties combined an eclectic array of cultural influences, adapting characters and songs from American movies, popular British ballads, and local story-telling traditions into a spirited blend of comedy and social commentary. Actors in blackface, inspired by Al Jolson, and female impersonators dramatized the aspirations, experiences, and frustrations of their audiences. Cole's extensive and lively look into Ghana's concert party provides a unique perspective on the complex experience of British colonial domination, the postcolonial quest for national identity, and the dynamic processes of cultural appropriation and social change. This book will be essential reading for scholars and students of African performance, theatre, and popular culture.
Catherine M. Cole is Assistant Professor in the Department of Dramatic Art at the University of California, Santa Barbara. She has published numerous articles on African theatre and has collaborated with filmmaker Kwame Braun on "passing girl; riverside," a video essay on the ethical dilemmas of visual anthropology.
256 pages, 26 b&w photos, 3 maps, 6 1/8 x 9 1/4, notes, bibl., index
cloth 0-253-33845-X $49.95 L /
A Nahua Drama from Early Colonial Mexico
Identified only in 1986, the Nahuatl Holy Week play is the earliest known dramatic script in any Native American language. In Holy Wednesday, Louise Burkhart presents side-by-side English translations of the Nahuatl play and its Spanish source. An accompanying commentary analyzes the differences between the two versions to reveal how the native author altered the Spanish text to fit his own aesthetic sensibility and the broader discursive universe of the Nahua church. A richly detailed introduction places both works and their creators within the cultural and political contexts of late sixteenth-century Mexico and Spain.
Essays on Irish Theatrical Diaspora
For more than 150 years, Irish playwrights, beginning with Dion Boucicault, have been celebrated by American audiences. However, Irish theater as represented on the American stage is merely a sampling of the national drama, and the underlying causes of Irish dramatic success in America illuminate the cultural state of both countries at specific historical moments. Irish Theater in America is the first book devoted entirely to the long history of this transatlantic exchange. Born out of the Irish Theatrical Diaspora project, this collection brings together leading American and Irish scholars with established theater critics. The contributors explore the history of Irish theater in America, from Harrigan and Hart to the recent productions of senior Irish playwrights such as Brian Friel and younger writers such as Martin McDonagh and Conor McPherson. Examining the complexity of the relationship between Irish theater and American audiences, this volume goes beyond analyses of plays to include examinations of company dynamics, tours of companies and actors, audience reception, and the production history of individual works.
This play was written as part of an evaluation of Africaís oldest and most diverse rainforest conservation initiative in the Korup area, with the aim of highlighting and sharing some lessons learnt from the creation of the Korup National Park, through a period of full activity, to when activities were considerably reduced. It is a fine blend of the results of the evaluation and some carefully developed fictional, artistic materials for the achievement of an overall dramatic effect. Ekpe Inyang gives an informed artistic touch to achieve dramatic effects, succinctly relating the story of Cameroonís first rainforest national park, Korup.
Passion, Pathos, and Entertainment
Like their Hollywood counterparts, Latin American film and TV melodramas have always been popular and highly profitable. The first of its kind, this anthology engages in a serious study of the aesthetics and cultural implications of Latin American melodramas. Written by some of the major figures in Latin American film scholarship, the studies range across seventy years of movies and television within a transnational context, focusing specifically on the period known as the "Golden Age" of melodrama, the impact of classic melodrama on later forms, and more contemporary forms of melodrama. An introductory essay examines current critical and theoretical debates on melodrama and places the essays within the context of Latin American film and media scholarship._x000B__x000B_Contributors are Luisela Alvaray, Mariana Baltar, Catherine L. Benamou, Marvin D'Lugo, Paula Felix-Didier, Andres Levinson, Gilberto Perez, Darlene J. Sadlier, Cid Vasconcelos, and Ismail Xavier.