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Hypocrisy, Sincerity, and Acting
The idea that actors are hypocrites and fakes and therefore dangerous to society was widespread in the seventeenth and eighteenth centuries. Fangs of Malice examines the equation between the vice of hypocrisy and the craft of acting as it appears in antitheatrical tracts, in popular and high culture, and especially in plays of the period. Rousseau and others argue that actors, expert at seeming other than they are, pose a threat to society; yet dissembling seems also to be an inevitable consequence of human social intercourse. The “antitheatrical prejudice” offers a unique perspective on the high value that modern western culture places on sincerity, on being true to one's own self.
Taking a cue from the antitheatrical critics themselves, Matthew Wikander structures his book in acts and scenes, each based on a particular slander against actors. A prologue introduces his main issues. Act One deals with the proposition “They Dress Up”: foppish slavery to fashion, cross-dressing, and dressing as clergy. Act Two treats the proposition “They Lie” by focusing on social dissembling and the phenomenon of the self-deceiving hypocrite and the public, princely hypocrite. Act Three, “They Drink,” examines a wide range of antisocial behavior ascribed to actors, such as drinking, gambling, and whoring. An epilogue ties the ancient ideas of possession and the panic that actors inspire to contemporary anxieties about representation not only in theatre but also in the visual and literary arts.
Fangs of Malice will be of great interest to scholars and students of drama as well as to theatre professionals and buffs.
The Empire Theatre of Varieties and the Licensing Controversy of 1894
In the London summer of 1894, members of the National Vigilance Society, led by the well-known social reformer Laura Ormiston Chant, confronted the Empire Theatre of Varieties, Leicester Square, and its brilliant manager George Edwardes as he applied for a routine license renewal. On grounds that the Empire's promenade was the nightly resort of prostitutes, that the costumes in the theatre's ballets were grossly indecent, and that the moral health of the nation was imperiled, Chant demanded that the London County Council either deny the theatre its license or require radical changes in the Empire's entertainment and clientele before granting renewal. The resulting license restriction and the tremendous public controversy that ensued raised important issues--social, cultural, intellectual, and moral--still pertinent today.Fantasies of Empire is the first book to recount in full the story of the Empire licensing controversy in all its captivating detail. Contemporaneous accounts are interwoven with Donohue's identification and analysis of the larger issues raised: What the controversy reveals about contemporary sexual and social relations, what light it sheds on opposing views regarding the place of art and entertainment in modern society, and what it says about the pervasive effect of British imperialism on society's behavior in the later years of Queen Victoria's reign. Donohue connects the controversy to one of the most interesting developments in the history of modern theatre, the simultaneous emergence of a more sophisticated, varied, and moneyed audience and a municipal government insistent on its right to control and regulate that audience's social and cultural character and even its moral behavior.Rich in illustrations and entertainingly written, Fantasies of Empire will appeal to theatre, dance, and social historians and to students of popular entertainment, the Victorian period, urban studies, gender studies, leisure studies, and the social history of architecture.
From Gone with the Wind to The Passion of the Christ
Most books on film adaptation—the relation between films and their literary sources—focus on a series of close one-to-one comparisons between specific films and canonical novels. This volume identifies and investigates a far wider array of problems posed by the process of adaptation. Beginning with an examination of why adaptation study has so often supported the institution of literature rather than fostering the practice of literacy, Thomas Leitch considers how the creators of short silent films attempted to give them the weight of literature, what sorts of fidelity are possible in an adaptation of sacred scripture, what it means for an adaptation to pose as an introduction to, rather than a transcription of, a literary classic, and why and how some films have sought impossibly close fidelity to their sources. After examining the surprisingly divergent fidelity claims made by three different kinds of canonical adaptations, Leitch's analysis moves beyond literary sources to consider why a small number of adapters have risen to the status of auteurs and how illustrated books, comic strips, video games, and true stories have been adapted to the screen. The range of films studied, from silent Shakespeare to Sherlock Holmes to The Lord of the Rings, is as broad as the problems that come under review.
Vol. 25 (2010) through current issue
Forum Modernes Theater (Forum for Modern Theatre) is the only peer-reviewed journal for theatre studies in the German-speaking countries. It is published twice a year.
The journal examines cultural, aesthetic and historical manifestations of theatre and embraces all aspects of academic discussion â both subject-specific and interdisciplinary â including approaches taken from cultural and media studies. Dance theatre and musical theatre are considered just as readily as performance and theatre history. The journalâs declared objective is to cross the boundaries into neighbouring disciplines such as literature, art and music studies.
Windows on Modern German Culture
In Framing Attention, Lutz Koepnick explores different concepts of the window—in both a literal and a figurative sense—as manifested in various visual forms in German culture from the nineteenth century to the present. He offers a new interpretation of how evolving ways of seeing have characterized and defined modernity. Koepnick examines the role and representation of window frames in modern German culture—in painting, photography, architecture, and literature, on the stage and in public transportation systems, on the film screen and on television. He presents such frames as interfaces that negotiate competing visions of past and present, body and community, attentiveness and distraction. From Adolph Menzel's window paintings of the 1840s to Nam June Paik's experiments with television screens, from Richard Wagner's retooling of the proscenium stage to Adolf Hitler's use of a window as a means of political self-promotion, Framing Attention offers a theoretically incisive understanding of how windows shape and reframe the way we see the world around us and our place within it.
The View from New York, Paris, and Avignon
Theatrical Spectacle in America, 1830–1910
Before phonographs and moving pictures, live performances dominated American popular entertainment. Carnivals, circuses, dioramas, magicians, mechanical marvels, musicians, and theatrical troupes—all visited rural fairgrounds, small-town opera houses, and big-city palaces around the country, giving millions of people an escape from their everyday lives for a dime or a quarter. In From Traveling Show to Vaudeville, Robert M. Lewis has assembled a remarkable collection of nineteenth- and early twentieth-century primary sources that document America's age of theatrical spectacle. In eight parts, Lewis explores, in turn, dime museums, minstrelsy, circuses, melodramas, burlesque shows, Wild West shows, amusement parks, and vaudeville. Included in this compendium are biographies, programs, ephemera produced by theatrical entrepreneurs to lure audiences to their shows, photographs, scripts, and song lyrics as well as newspaper accounts, reviews, and interviews with such figures as P. T. Barnum and Buffalo Bill Cody. Lewis also gives us reminiscences about and reactions to various shows by members of audiences, including such prominent writers as Mark Twain, William Dean Howells, Nathaniel Hawthorne, Carl Sandburg, Walt Whitman, Louisa May Alcott, Charles Dickens, O. Henry, and Maxim Gorky. Each section also includes a concise introduction that places the genre of spectacle into its historical and cultural context and suggests major interpretive themes. The book closes with a bibliographic essay that identifies relevant scholarly works. Many of the pieces collected here have not been published since their first appearance, making From Traveling Show to Vaudeville an indispensable resource for historians of popular culture, theater, and nineteenth-century American society.
An Intimate Portrait
George Gershwin lived with purpose and gusto, but with melancholy as well, for he was unable to make a place for himself--no family of his own and no real home in music._x000B__x000B_He and his siblings received little love from their mother and no direction from their father. The closest George came to domesticity was his longtime affair with fellow composer Kay Swift. But she remained married to another man while he went endlessly from woman to woman. Only in the final hours of his life did he realize how much he needed her. Fatally ill, unprotected by (and perhaps estranged from) his older brother Ira, he was exiled by Ira's hard-edged wife Leonore from the house that she and the brothers shared, and he died horribly and alone at the age of thirty-eight._x000B__x000B_Nor did Gershwin find a satisfying musical harbor. For years his genius could be expressed only in the ephemeral world of show business, as his brilliance as a composer of large-scale works went unrecognized by highbrow music critics. When he resolved this quandary with his opera Porgy and Bess, critics were unable to understand or validate it. Decades would pass before his most ambitious composition was universally regarded as one of music's lasting treasures and before his stature as a great composer became secure._x000B__x000B_In this book, Walter Rimler makes use of fresh sources, including newly discovered letters by Kay Swift as well as correspondence between and interviews with intimates of Ira and Leonore Gershwin. It is written with spirited prose and contains more than two dozen photographs.
An Introductory Handbook for Dramaturgy
Ghost Light introduces undergraduates to the practice of dramaturgy in the United States. The book emphasizes play analysis and writing proficiency, and is divided into three sections that deal with philosophy, analysis, and practice of dramaturgy. Exercises for each chapter and appendices of useful resources are included.
Kanyasulkam, a Play from Colonial India
First staged in 1892, the South Indian play Girls for Sale (Kanyasulkam) is considered the greatest modern work of Telugu literature and the first major drama written in an Indian language that critiqued British colonialism's effects on Indian society. Filled with humor, biting social commentary, parody, and masquerade, the plot revolves around a clever courtesan, a young widow, and a very old man who wants to buy as his wife a very young girl. Velcheru Narayana Rao has prepared the first idiomatic English translation, with notes and a critical essay. Itself a masterpiece of Indian literature in translation, this edition makes Apparao's work available to new audiences.