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Eighteenth-Century British Actresses and Strategies for Image Making
This volume takes a new approach to the study of late eighteenth-century British actresses by examining the significance of leading actresses’ autobiographical memoirs, portraits, and theatrical roles together as significant strategies for shaping their careers. In an era when acting was considered a suspicious profession for women, eighteenth-century actresses were “celebrities” in a society obsessed with fashion, gossip, and intrigue. Fashioning Celebrity: Eighteenth-Century British Actresses and Strategies for Image Making, by Laura Engel, considers the lives and careers of four actresses: Sarah Siddons, Mary Robinson, Mary Wells, and Fanny Kemble. Using conventions of the era’s portraiture, fashion, literature, and the theater in order to create their personas on and off stage, these actresses provided a series of techniques for fashioning celebrity that still survive today. By emphasizing the importance of reading narratives through visual and theatrical frameworks and visual and theatrical representations through narrative models, Engel demonstrates the ways in which actresses’ identities were imagined through a variety of discourses that worked dialectically to construct their complex self-representations.
The Feminist Spectator as Critic broke new ground as one of the pioneering books on feminist spectatorship, encouraging resistant readings to generate feminist meanings in performance. Approaching live spectatorship through a range of interdisciplinary methods, the book has been foundational in theater studies, performance studies, and gender/sexuality/women's studies. This updated and enlarged second edition celebrates the book's twenty-fifth anniversary with a substantial new introduction and up-to-the-moment bibliography, detailing the progress to date in gender equity in theater and the arts, and suggesting how far we have yet to go.
The Naturalist Prostitute and Her Avatars in Latin American Literature, 1880–2010
The first comprehensive and interdisciplinary study of the prostitute in Latin American literature, Claire Thora Solomon’s book The Naturalist Prostitute and Her Avatars in Latin American Literature, 1880–2010 shows the gender, ethnic, and racial identities that emerge in the literary figure of the prostitute during the consolidation of modern Latin American states in the late nineteenth century in the literary genre of Naturalism. Solomon first examines how legal, medical, and philosophical thought converged in Naturalist literature of prostitution. She then traces the persistence of these styles, themes, and stereotypes about women, sex, ethnicity, and race in the twentieth and twenty-first century literature with a particular emphasis on the historical fiction of prostitution and its selective reconstruction of the past. Fictions of the Bad Life illustrates how at very different moments—the turn of the twentieth century, the 1920s–30s, and finally the turn of the twenty-first century—the past is rewritten to accommodate contemporary desires for historical belonging and national identity, even as these efforts inevitably re-inscribe the repressed colonial history they wish to change.
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 – both subject-specific and interdisciplinary – including approaches taken from cultural and media studies. Dance theatre and musical theatre are considered just as readily as performance and theatre history. The journal’s 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.
The Story of Broadway Producer Cheryl Crawford
A Gambler’s Instinct offers a rare glimpse of one of the first female producers in American theater. Active in the Group Theatre, the Actors Studio, and on Broadway, her success with Tennessee Williams plays and the musicals of Kurt Weill and Marc Blitzstein, among others, highlight her persistence and expertise.
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.