Shakespeare, William, 1564-1616 -- Stage history -- Asia.
Theater -- Production and direction -- Asia.
Decanonizing the larger monolithic and Orientalist associations of Shakespeare and
Asia, this essay problematizes their diverse relationships by focusing on three discrete,
yet politically and economically linked, sites of investigation: New Asian explorations
of Shakespeare in which the dramatic text is subsumed within ostensibly deconstructive
scenarios exploring inter-Asian cultural difference; postcolonial critiques of
Shakespearean adaptation in traditional performances like Kathakali; and the neo-Orientalist attempt to seek an authentic and vibrant Shakespeare in the living
traditions of non-Western cultures. Even while de-provincializing the Bard and
affirming that there are not just other Shakespeares but different Shakespeares, the
essay also demonstrates that Asicacentricity could be the other side of the same coin as
Christian drama, Latin (Medieval and modern) -- History and criticism.
Amalarius, Archbishop of Lyon, ca. 775-ca. 850. Liber officialis.
Honorius, of Autun, ca. 1080-ca. 1156. Gemma animae.
Liturgical allegory, as a genre of medieval writing, is often thought to indicate
dramatic or theatrical tendencies in medieval worship practices. This article compares
the liturgical allegories of Amalarius of Metz (ninth century) and Honorius Augustodunensis
(twelfth century). The comparison shows that medieval ideas about theatre
operated very differently in the writings of Amalarius and, three centuries later,
Honorius. These differences suggest both different modes of representation in medieval
ceremonies and the transformation of ancient theatre from a negative to a positive
model for Christian worship.
Inchbald, Mrs., 1753-1821. Every one has his fault.
Theater -- Political aspects -- Great Britain -- History -- 18th century.
To appreciate the deft control with which Inchbald ventured political material on
the Covent Garden stage, one must read EOHHF against the political events of the
1792–93 theatrical season. EOHHF engaged with several tenets proposed in An
Enquiry Concerning Political Justice, published by her new friend William Godwin just
weeks after her play took the stage. Thus, Inchbald negotiated a common difficulty of
"Jacobin" sympathizers who could not agree with all the details of reformist zeal. In
particular, EOHHF challenged Godwin's insistence on absolute truth, his repudiation
of marriage as an institution, and his indictment of aristocracy as the root of social
African American theater -- History -- 19th century.
South before the war.
African American theatre history has traditionally been a story of progress in which
real and authentic representations of black culture displace false and coerced ones.
Often, this story finds only a lack of agency or cultural betrayal in black participation
in, and attendance at nineteenth- and early-twentieth-century popular entertainments.
This case study of two plantation-themed shows from the late 1890s, South Before the
War and Black America, argues for an alternative approach. Defining black culture as
that which emerges from—-rather than exists behind—-commercial and social constraints
expands the options for interpreting black participation in American theatre
and the complex dynamics that link performance to racial identification.
Foreman's recent productions at once rehearse and question some of the central
projects of the twentieth-century avant-garde. Foreman engages the avant-garde faith
in the political force of experimental practices that evoke psychic depth. Examining
some of his theoretical manifestoes and two of his recent productions, Paradise Hotel
(1999) and Now that Communism is Dead, My Life Feels Empty! (2001), this essay argues
that Foreman’s staged work interrogates the terms of his theoretical work. In his
theoretical writing, Foreman suggests that his Ontological-Hysteric Theater uses the
theatrical staging of hysterical forms to evoke essential ontological ground. In his
recent productions, the technological apparatus of his plays points instead to a very
different psychic topography, where the depth to which his theater can aspire is that of
the mass cultural media he uses in his intense stagings.
Liepe-Levinson, Katherine, 1953- Strip show: performances of gender and desire.
McNair, Brian, 1959- Striptease culture: sex, media, and the democratization of desire.
Sex in mass media.
Perfect 10: Writing and Producing the 10-Minute Play, and: Writing Your First Play, and: The Playwright's Guidebook: An Insightful Primer on the Art of Dramatic Writing (review) [Access article in HTML][Access article in PDF] Subject Headings:
Garrison, Gary. Perfect 10: writing and producing the 10-minute play.
Sossaman, Stephen. Writing your first play.
Spencer, Stuart, 1957- Playwright's guidebook: an insightful primer on the art of dramatic writing.
Kaufman, David. Ridiculous! the theatrical life and times of Charles Ludlam.
Kelly, Katherine E., 1947-
She Also Wrote Plays: An International Guide to Women Playwrights from the 10th to the 21st Century, and: Women Who Write Plays: Interviews with American Dramatists (review) [Access article in HTML][Access article in PDF] Subject Headings:
Croft, Susan, 1958- She also wrote plays: an international guide to women playwrights from the 10th to the 21st century.
Greene, Alexis, ed. Women who write plays: interviews with American dramatists.
Drama -- Women authors -- Directories.
Dramatists, American -- 20th century -- Interviews.