Brief Notices
- Brief Notices
Clifford Davidson. Festivals and Plays in Late Medieval Britain. Aldershot: Ashgate, 2007. Pp xii + 203. $99.95 casebound.
This volume begins with a list of figures (vi), a preface (vii–ix), acknowledgments (x–xi), and abbreviations (xii). The primary text is divided into six sections in two parts. Part 1: "The Landscape of Festival Drama and Play," includes "Playing and the Ritual Year" (3–48); "'Corpus Christi Play' and the Feast of Corpus Christi" (49–80); "The York Corpus Christi Guild and Drama" (81–106); "Play and Spectacle at Pentecost" (107–40). Part 2, "Some Aspects of Two Genres of Festival Drama," includes: "Suffering and the York Cycle Plays" (141–68); "The Vernacular Plays for Good Friday and Easter from MS. e Museo 160" (169–86). The text concludes with a select bibliography (187–96) and an index (197–203).
This volume begins with a list of figures (vi), a preface (vii–ix), acknowledgments (x–xi), and abbreviations (xii). The primary text is divided into six sections in two parts. Part 1: "The Landscape of Festival Drama and Play," includes "Playing and the Ritual Year" (3–48); "'Corpus Christi Play' and the Feast of Corpus Christi" (49–80); "The York Corpus Christi Guild and Drama" (81–106); "Play and Spectacle at Pentecost" (107–40). Part 2, "Some Aspects of Two Genres of Festival Drama," includes: "Suffering and the York Cycle Plays" (141–68); "The Vernacular Plays for Good Friday and Easter from MS. e Museo 160" (169–86). The text concludes with a select bibliography (187–96) and an index (197–203).
Marc Maufort and David O'Donnell, eds. Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition. Brussels: P.I.E. Peter Lang, 2007. Pp. 463. $66.95 paperbound.
Following acknowledgments and editorial policy (11–12), this volume contains the following essays: Marc Maufort, "Performing Aotearoa in an Age of Transition" (13–16); David O'Donnell, "'Whaddarya?' Questioning National Identity in New Zealand Drama" (17–26); Christopher Balme, "Staging Pan-Polynesian Identity at the New Zealand International Exhibition, Christchurch 1906–07" (27–44); Murray Edmond, "Re-membering the Remembering Body: 'Autonomous Theatre' in New Zealand" (45–68); Bronwyn Tweddle, "Where Grotowski Meets Lecoq. 'Flow' in Training at Toi Whakaari: New Zealand Drama School" (69–86); Susan Williams, "Advocating Interaction with 'the Other': Robert Lord's Use of the Food Metaphor" (87–102); William Peterson, "Writing into the Land: Dramatic Monologues in the Expanding Landscape of Aotearoa/New Zealand" (103–20); Marc Maufort, "Painful Homecomings: Family Fractures in Contemporary Pākehā Dramaturgies" (121–38); "Telling Pākehā Stories: Lisa Warrington Interviews Gary Henderson" (139–46); "'Theatre is the lightning rod': David O'Donnell Interviews Ken Duncum" (147–62); Stuart Young, "Masque(e)rades of Masculinity: Cross-Dressing Women on the New Zealand Stage" (163–82); "Completing the Circle: David O'Donnell Interviews Jean Betts" (183–92); Te [End Page 527] Ahukaramū Charles Royal, "Ōrotokare. Towards a New Model for Indigenous Theatre and Performing Arts" (193–208); "'Let me feel the magic': Hilary Halba Interviews Rangimoana Taylor" (209–18); David Carnegie and David O'Donnell, "Māori Dramaturgy: The Case of Nga Tangata Toa" (219–36); Hone Kouka, "Re-Colonising the Natives: The State of Contemporary Māori Theatre" (237–46); Marc Maufort, "Recapturing Māori Spirituality: Briar Grace-Smith's Magic Realist Stage Aesthetic" (247–68); "Calming the Oceans: David O'Donnell Interviews Briar Grace-Smith" (269–82); Sharon Mazer, "Atamira Dance Collective: Dancing in the Footsteps of the Ancestors" (283–92); Peter Falkenberg, "Theatre of Unease" (293–306); David O'Donnell, "Re-claiming the 'Fob': The Immigrant Family in Samoan Drama" (307–30); "'Everything is Family': David O'Donnell Interviews Nathaniel Lees" (331–48); Lisa Warrington, "A Place to Tell Our Stories: Asian Voices in the Theatre of Aotearoa" (349–68); "'Truth is always stranger than fiction': David O'Donnell Interviews Lynda Chanwai-Earle" (369–82); "'We want to create work that's beautiful, funny, sad and true': Lisa Warrington Interviews Jacob Rajan" (383–90); John Davies, "The Audience Are Stones" (391–406); William Farrimond, "Mask, Moko and Memory: Identity through Solo Performance in a Post-colonial World" (407–30); Trisha Dunleavy, "Narratives of Identity: TV Drama Production in New Zealand" (431–54). The text concludes with notes on contributors (455–58) and an index (459–63).
Following acknowledgments and editorial policy (11–12), this volume contains the following essays: Marc Maufort, "Performing Aotearoa in an Age of Transition" (13–16); David O'Donnell, "'Whaddarya?' Questioning National Identity in New Zealand Drama" (17–26); Christopher Balme, "Staging Pan-Polynesian Identity at the New Zealand International Exhibition, Christchurch 1906–07" (27–44); Murray Edmond, "Re-membering the Remembering Body: 'Autonomous Theatre' in New Zealand" (45–68); Bronwyn Tweddle, "Where Grotowski Meets Lecoq. 'Flow' in Training at Toi Whakaari: New Zealand Drama School" (69–86); Susan Williams, "Advocating Interaction with 'the Other': Robert Lord's Use of the Food Metaphor" (87–102); William Peterson, "Writing into the Land: Dramatic Monologues in the Expanding Landscape of Aotearoa/New Zealand" (103–20); Marc Maufort, "Painful Homecomings: Family Fractures in Contemporary Pākehā Dramaturgies" (121–38); "Telling Pākehā Stories: Lisa Warrington Interviews Gary Henderson" (139–46); "'Theatre is the lightning rod': David O'Donnell Interviews Ken Duncum" (147–62); Stuart Young, "Masque(e)rades of Masculinity: Cross-Dressing Women on the New Zealand Stage" (163–82); "Completing the Circle: David O'Donnell Interviews Jean Betts" (183–92); Te [End Page 527] Ahukaramū Charles Royal, "Ōrotokare. Towards a New Model for Indigenous Theatre and Performing Arts" (193–208); "'Let me feel the magic': Hilary Halba Interviews Rangimoana Taylor" (209–18); David Carnegie and David O'Donnell, "Māori Dramaturgy: The Case of Nga Tangata Toa" (219–36); Hone Kouka, "Re-Colonising the Natives: The State of Contemporary Māori Theatre" (237–46); Marc Maufort, "Recapturing Māori Spirituality: Briar Grace-Smith's Magic Realist Stage Aesthetic" (247–68); "Calming the Oceans: David O'Donnell Interviews Briar Grace-Smith" (269–82); Sharon Mazer, "Atamira Dance Collective: Dancing in the Footsteps of the Ancestors" (283–92); Peter Falkenberg, "Theatre of Unease" (293–306); David O'Donnell, "Re-claiming the 'Fob': The Immigrant Family in Samoan Drama" (307–30); "'Everything is Family': David O'Donnell Interviews Nathaniel Lees" (331–48); Lisa Warrington, "A Place to Tell Our Stories: Asian Voices in the Theatre of Aotearoa" (349–68); "'Truth is always stranger than fiction': David O'Donnell Interviews Lynda Chanwai-Earle" (369–82); "'We want to create work that's beautiful, funny, sad and true': Lisa Warrington Interviews Jacob Rajan" (383–90); John Davies, "The Audience Are Stones" (391–406); William Farrimond, "Mask, Moko and Memory: Identity through Solo Performance in a Post-colonial World" (407–30); Trisha Dunleavy, "Narratives of Identity: TV Drama Production in New Zealand" (431–54). The text concludes with notes on contributors (455–58) and an index (459–63).
Sara Munson Deats and Robert A. Logan, eds. Placing the Plays of Christopher Marlowe: Fresh Cultural Context. Aldershot: Ashgate, 2008. Pp xi + 249. $89.95 casebound.
This volume begins with notes on contributors (vii–x), acknowledgments (xi), and an introduction by the editors (1–12). The primary text includes essays in four parts. Part 1, "Marlowe and the Theater," includes Sara Munson Deats, "'Mark this show': Magic and Theater in Marlowe's Doctor Faustus" (13–24); Ruth Lunney, "Marlowe's Edward II and the Early Playhouse Audience" (25–42); Stephanie Moss, "Edmund Kean, Anti-Semitism, and The Jew of...
This volume begins with notes on contributors (vii–x), acknowledgments (xi), and an introduction by the editors (1–12). The primary text includes essays in four parts. Part 1, "Marlowe and the Theater," includes Sara Munson Deats, "'Mark this show': Magic and Theater in Marlowe's Doctor Faustus" (13–24); Ruth Lunney, "Marlowe's Edward II and the Early Playhouse Audience" (25–42); Stephanie Moss, "Edmund Kean, Anti-Semitism, and The Jew of...
