Theatre Journal

Published by Johns Hopkins University Press
Online ISSN: 1086-332X
Print ISSN: 0192-2882
Stage fright seizes even the most experienced actors, and, according to Stephen Aaron, it is more than an occupational hazard. Rather, stage fright is part and parcel of the process of acting itself. Through lively and revelatory anecdotes and interviews with many famous actors and actresses, Aaron probes the origins and nature of stage fright among experienced actors in traditional plays. As an actor, director, and psychotherapist, Aaron has a unique perspective. More than a clinical study, this book is a discussion of the psychological factors inherent in acting and in all creative activities. He argues that the relationship between actor and director has many similarities to that of parent and child; stage fright, he contends, is not fear of the audience, but anxiety about the loss of personal self, and is triggered by the absence of the director's guidance. "Stage Fright" will certainly appeal to actors, directors, and theatergoers, but because of Aaron's unusual background and insight, it will also appeal to those in the social sciences, psychology, and the arts in general. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
How men communicate with each other on stage when no women are present--and what it tells us about power and gender
Behind the mask, Appel notes, the stu­dent is free to create a personality; paradox­ically, because the mask hides the self, it en­ables the student to probe more deeply into himself. “This book describes, defines, and dis­cusses the mask characterization process, providing the theory behind the exercises and the step-by-step procedure in the organ­ic development of the character from the masks,” Appel notes. The manual is divided into two parts: “The Instructor’s Guide” and “The Actor’s Guide.” There is also an intro­ductory chapter, “The Class Structure,” which explains mask characterization pro­cedures in the classroom, and a sample class schedule may be found in the back of the manual. This book adds a new dimension to actor training and learning. It is essential to aspir­ing actors seeking new ways to create honest dramatic characterizations.
Thesis (Ph. D.)--University of Rochester, 1969. "70-2872." Vita. Portions of text in Middle English and Latin. "Bibliography of works consulted": p. 290-299. Microfilm. s
The electronic version of this book has been prepared by scanning TIFF 600 dpi bitonal images of the pages of the text. Original source: Dance and the lived body : a descriptive aesthetics / Sondra Horton Fraleigh.; Fraleigh, Sondra Horton, 1939-; xli, 284 p. : ill. ; 24 cm.; Pittsburgh, Pa. :; This electronic text file was created by Optical Character Recognition (OCR). No corrections have been made to the OCR-ed text and no editing has been done to the content of the original document. Encoding has been done through an automated process using the recommendations for Level 2 of the TEI in Libraries Guidelines. Digital page images are linked to the text file.
This essay considers processes by which community identities are challenged by discussing the use of whiteface as an activist strategy in recent indigenous theatre in Canada and Australia. To understand whiteface, I employ Susan Gubar's notion of racechange, processes that test and even transgress racial borders. I also situate whiteface in relation to the history of blackface minstrelsy. Noting the ways these racial performances affirm the hierarchies of color and how power becomes invested in such color codings, the essay highlights indigenous employment of whiteface as a potential form of critical historiography. I then analyze how whiteface functions in two productions, Daniel David Moses's Almighty Voice and His Wife (1991) in Canada and the Queensland Theatre Company's 2000 revival of George Landen Dann's Fountains Beyond in Australia. My analysis posits that such indigenous performances of whiteface can affirm the identity of the marginalized other even as they destabilize the fixity of race and its meanings.
In a celebration of the expansiveness and inclusiveness of farce, this book describes the art form rather than defines it. Part 1 illustrates the nature of farce and its relationship to tragedy, comedy, and melodrama. Part 2 is a cumulative biography of farce, beginning with Greek and Roman writers and continuing through Shakespeare, Moliere, and into the Dadaists, Surrealists, and others of the twentieth century. The book reviews a Hollywood-inspired resurgence of farce, which has seeped into such diverse artistic categories as painting, fiction, poetry, dance, and music. The book also discusses the works of such modern masters of farce as Charlie Chaplin, Buster Keaton, the Marx Brothers, Woody Allen, Mel Brooks, Sid Caesar, and Monty Python. (SG)
V tomto souboru 1. vyd. Přeloženo z angličtiny Ve společném kartonovém pouzdře s dalšími třemi sv.
When We Dead Awaken / Henrik Ibsen ; introduction and translation by William Archer Note: The University of Adelaide Library eBooks @ Adelaide.
Even though Jo Fabian and Sasha Waltz each base one of their dance theatre pieces on East German identity during and after the opening of the Berlin Wall in 1989, their distinct approaches and trainings produce dramatically different choreographies. By examining the dialectical relationships of their productions with East German citizens' conscious pedestrian movements at that time, I illuminate the role of choreography in the creation of societal structures.
Thesis (Ph. D.)--Florida State University, 1979. Includes bibliographical references (leaves [370]-376). Photocopy.
In this, the first thoroughly researched scholarly biography of British actor Junius Brutus Booth, Stephen M. Archer reveals Booth to have been an artist of considerable range and a man of sensitivity and intellect. Archer provides a clear account of Booth’s professional and personal life and places him in relationship to his contemporaries, particularly Edmund Kean and William Charles Macready. From 1817 to 1852 Junius Brutus Booth toured throughout North America, enjoying a reputation as the most distinguished Shakespearean tragedian on the American continent. Still, he yearned for success on the British stage, a goal he never attained. His public image as a drunken, dangerous lunatic obscured a private life filled with the richness of a close and loyal family. The worldwide fame assured for the Booth family of actors by John Wilkes Booth’s bone-shattering leap from the President’s box had eluded Junius Brutus Booth throughout his lifelong exile in America. But from that event until today, no American family of actors has stimulated such scrutiny as the Booths. Eight years of research, pursuing Booth from Amsterdam to San Francisco, has resulted in an accurate, fascinating narrative that both records and illuminates the actor’s life.
John Gabriel Borkman / Henrik Ibsen ; introduction and translation by William Archer Note: The University of Adelaide Library eBooks @ Adelaide.
The Master Builder / Henrik Ibsen ; translated by Edmund Gosse and William Archer with an introduction by William Archer Note: The University of Adelaide Library eBooks @ Adelaide.
This essay explores the complexities of intercultural interaction, specifically in the context of globalization. These interactions involve not only contact with, but also negotiation of cultural representations. The debates about the processes involved in such encounters are complex and highlight tensions among aesthetics, ideology, the ethics of production, voice, and authorship. The essay begins by outlining some of the key debates and issues specifically for theatre; in particular, it looks at the tension between Brook’s transcultural approach to intercultural theatre and Rustom Bharucha’s insistence on contextualized and historicized interactions. These theoretical positions are explored against the specific example of Tall Horse (2005), an intercultural production by the South African Handspring Puppet Company, the Malian Sogolon Puppet Company, a choreographer from Benin, and a scriptwriter from New York. The essay examines both the ideological issues raised in the text and the practical issues of cross-cultural collaboration and interaction to suggest an approach that may mediate between binaries that seem to dominate cultural interaction.
Little is known of Goldsmith’s early life in Ireland. Even his date of birth is uncertain; some biographers claim it was 1728, most settle for 1730. He was born the son of a poor clergyman (later idealised in the figure of Dr Primrose in his novel The Vicar of Wakefield), and spent most of his youth in the village of Lissoy. Given the genteel poverty of his upbringing, Goldsmith had to struggle first for his education and then for his livelihood. He entered Trinity College, Dublin in 1745 as a sizar, which meant he was granted free tuition in return for working as a servant for his tutors. In 1752 he moved to Edinburgh to study medicine, but left without a degree. He spent several years working his way through Europe, combining study with busking and also trying his hand at university disputations for a fee. In 1756 he returned to London. Having dabbled with a variety of ill-suited careers (these included work as an apothecary’s assistant, a proof-reader and usher in a boys’ school), he eventually began to earn a living of sorts as a Grub Street journalist and hack writer. He was soon writing regular features for the Monthly Review, as well as entertaining letters from an imaginary Chinese visitor to England.
Cymbeline / William Shakespeare Note: The University of Adelaide Library eBooks @ Adelaide.
Explores current controversies and significant concerns in feminist theater and performance.
The life of the German-Jewish literary critic and philosopher Walter Benjamin (1892-1940) is a veritable allegory of the life of letters in the twentieth century. Benjamin's intellectual odyssey culminated in his death by suicide on the Franco-Spanish border, pursued by the Nazis, but long before he had traveled to the Soviet Union. His stunning account of that journey is unique among Benjamin's writings for the frank, merciless way he struggles with his motives and conscience. Perhaps the primary reason for his trip was his affection for Asja Lacis, a Latvian Bolshevik whom he had first met in Capri in 1924 and who would remain an important intellectual and erotic influence on him throughout the twenties and thirties. Asja Lacis resided in Moscow, eking out a living as a journalist, and Benjamin's diary is, on one level, the account of his masochistic love affair with this elusive--and rather unsympathetic--object of desire. On another level, it is the story of a failed romance with the Russian Revolution; for Benjamin had journeyed to Russia not only to inform himself firsthand about Soviet society, but also to arrive at an eventual decision about joining the Communist Party. Benjamin's diary paints the dilemma of a writer seduced by the promises of the Revolution yet unwilling to blinker himself to its human and institutional failings. Moscow Diary is more than a record of ideological ambivalence; its literary value is considerable. Benjamin is one of the great twentieth-century physiognomists of the city, and his portrait of hibernal Moscow stands beside his brilliant evocations of Berlin, Naples, Marseilles, and Paris. Students of this particularly interesting period will find Benjamin's eyewitness account of Moscow extraordinarily illuminating. Reviews of this book: "The German literary critic and philosopher Walter Benjamin, who died in 1940, was one of Europe's grandest thinkers. This diary covers only two months in the winter of 1926-1927, but it feels like a lifetime. His meticulous, almost macabre attention to detail gives his perceptions a kind of scientific brilliance, whether he is describing the streets of the city, a curious shop sign, the sanatorium where his friend Asja Lacis is a patient, the wash table in his hotel room, or the ragged beds that stand at every street corner in `the open air sick bay called Moscow.' The book is a supreme example of the kind of mental equipment any traveller would like to take with him, to any place." -- The Independent [UK] "[An] unsurpassably quirky memoir of Bolshevik literati as Stalin consolidated power." -- New Society "In the '20s and '30s, [Benjamin] was a Jew in Berlin, a visitor to the Russian Revolution, a refugee in France, a citizen of the world in flames. More a man of letters than scholar, and more poet than either one, he wandered through Western culture as if it had been destroyed centuries earlier, and he were a revenant poking through its remains. He amassed quotations and collected books and toys, with no illusion of finding a living civilization, but seeking the artifacts of a shattered one...Love, mixed with obsession, is at the heart of Moscow Diary , the private record of Benjamin's two-month visit to the Soviet Union in the winter of 1926. Edited and with an afterword by Gary Smith and lucidly translated by Richard Sieburth, it is a many-faceted jewel: a portrait of the Russian revolution in its still unsettled transition to Stalinism, a vivid picture of Moscow life, Benjamin's intellectual journal, and above all, the tragicomic story of his pursuit of the Estonian actress, Lacis Asja." --Richard Eder, Los Angeles Times Book Review " Moscow Diary is chiefly interesting not for what it tells us about Moscow during December 1926 but for what it tells us about Walter Benjamin, who has by now emerged as both a major figure in modern German literature and criticism and as the preeminent poet-historian of the modern European city. Moscow Diary is the longest of Benjamin's autobiographical writings...[Benjamin's] insights into Russia's struggle to define its cultural identity are often compelling. Above all, the Diary is the story of the triangle among Benjamin, Asja, and the expatriate German playwright Bernhard Reich. Their story of emotional instabilities and obstacles provides a fascinating counterpart to the story of Russia's cultural dilemma. The edition is superbly translated, annotated, and illustrated, and contains a fine preface and afterword." -- Choice
A Midsummer Night's Dream / William Shakespeare Note: The University of Adelaide Library eBooks @ Adelaide.
The sixteen essays collected in The Theater of Essence define the point of view of one of the most influential theater critics of our time. Jan Kott's subjects extend from Tadeusz Borowski, Ibsen, Ionesco, and Gogol to Bunraku theater in Japan, Yiddish theater in New York, and Grotowski's theater in Poland. "Kott is the best guide I know to the theatrical innovators of our time. Even the erudite scholarship is illuminated in the end by his own historical destiny as an exiled intellectual; if he looks backward to read Ibsen anew, or examines the perverse heart of Kabuki, his discoveries are still filtered through the consciousness and experience of Kott our contemporary." --Philip Roth "Criticism these days in usually dull, dehydrated, and pompous. But not Jan Kott's criticism. It is startling, juicy, informal, jazzy. Even those who think Jan a little mad will concede that there is no methodology in the madness." --Eric Bentley
Hedda Gabler / Henrik Ibsen; translated by Edmund Gosse and William Archer Note: The University of Adelaide Library eBooks @ Adelaide.
Ghosts / Henrik Ibsen; translated by R. Farquharson Sharp Note: The University of Adelaide Library eBooks @ Adelaide.
I'm approaching this issue from the starting point of someone whose main interests are in the reception of ancient Greek tragedy on the modern stage—that is, the ways in which the plays have been transmitted, translated, rewritten, and realized across time, place, and culture. Performed translations enable audiences to experience interaction between ancient and modern. They can also be indicators of changes in modern perceptions of the ancient play and in how practitioners use the transformative powers of theatre. For most classicists working in this field, the upsurge during the past thirty years or so of performances of Greek plays and of new plays affiliated to them has caused not only delight but also deep-rooted challenges to the methods and theoretical frameworks used to research text and performance. Theatre translation is not just a relationship between the ancient text and the creator of the modern acting script; the activators of translation and meaning also include the director, the designer, the actors, and the spectators, as well as the material and cultural contexts of theatre and its spaces. In understanding this matrix, classical researchers have much to learn from theatre researchers and practitioners. Perhaps, too, we can offer some reciprocal benefits that might arise from our work on the continuing impact of the forms and conventions of the plays and, indirectly, of the ancient contexts in which they were first created and received. Led by the work of Oliver Taplin dating from the 1970s, the performance aspects of the ancient text were placed at the center of classical research alongside the traditional emphasis on philological analysis, and both have fed into discussion of approaches to translation and to the reception of the plays beyond antiquity. Recent work on the histories of performance of the plays has considered a variety of contexts, including theatres of protest and watersheds in cultural and political change. Focus on translation issues has tended to regard the languages of translation as subaltern, but has also been influenced by the recognition from scholars of English literature that creative translations from Greek and Latin can attain artistic status in their own right (Pope, Dryden, Pound, Logue) and by the implications for theatre foregrounded by translation scholars such as Susan Bassnett. Greek plays are now being staged in all types of theatre, from the high-prestige commercial companies to student and experimental productions on theatre fringes. However, all have in common that the theatre practitioners involved want to be regarded as "making it new," putting their stamp (or cutting their theatrical teeth) on plays that have long performance histories and on mythological themes that are lodged in the cultural memory. This means that comparisons can be made and metatheatrical elements abound. It also means that there is a tightrope to be negotiated between the concepts of revival and new work. Helen Edmundson, who wrote the script for the 2006 Shared Experience production of Euripides' Orestes, has recently described her approach as not to be slavishly loyal to the source. . . . These days we all make very strong distinctions between adaptations and original work. But they're all plays and they all have to tell the audience a story. . . . Shakespeare plundered other people's stories shamelessly. And people didn't say "That's not a play, it's an adaptation." Edmundson also referred to commercial pressures to do adaptations because audiences will flock to a familiar title. The question in this case was whether spectators were getting the story of Orestes or Euripides' play. Edmundson said that she had "played fast and loose with Euripides' text" because she thought it "quite clunky . . . not really one thing or another." She reduced the Chorus's presence to some lines given to a slave (combined with a silent Chorus of nude, life-size terracotta figures at the side and rear of the stage). The production was well-received, but an effect of these changes (especially the cutting of the Apollo sequence at the end) was to deprive the audience of the opportunity to confront the implications of Euripides' blackly humorous reestablishment of the myth and its genealogies against the grain of the human action in the play. Edmundson's background is in...
Peer Gynt / Henrik Ibsen; translated by William and Charles Archer Note: The University of Adelaide Library eBooks @ Adelaide.
"...a valuable book which will arouse questions, inspire debate, and fuel research projects for years to come. If the work...collected here may be taken as examples of the finest in theatre history research, the state of the profession may be judged to be healthy indeed."—Theatre History Studies The essays in this broadly based work examine the research procedures, practices, problems, and opportunities in the field of theatre history. No single methodology or theory dominates this anthology; instead it offers various approaches to the study of the theatrical past. It is the first of its kind in theatre historiography, useful for research as well as classroom adoption. Though these thirteen essays provide historical information on specific people, events, works, documents, institutions, and social conditions in the theatre, they aim primarily to explore theoretical and methodological issues, to review and analyze current research practices and presuppositions, and to identify and apply new theoretical orientations to theatre studies. Whatever their interpretive viewpoint and rhetorical tone, each of the essays calls for greater awareness of the problems and opportunities that face the discipline. Consequently, this collection will be valuable reading not only for theatre historians but for scholars in literary and popular studies and in all the performing arts.
Although he is best known in the United States as a novelist, Austrian writer Thomas Bernhard has been hailed in Europe as one of the most significant and controversial of contemporary playwrights. George Steiner has predicted that the current era in German-language literature will be recognized as the "Bernhard period"; John Updike compares Bernhard with Kafka, Grass, Handke, and Weiss. His dark, absurdist plays can be likened to those of Beckett and Pinter, but their cultural and political concerns are distinctly Bernhard's. While Austria's recent political history lends particular credibility to Bernhard's satire, his criticisms are directed at the modern world generally; his plays grapple with questions of totalitarianism and the subjection of the individual and with notions of reality and appearance.
What happens when theatre crosses the line, risks danger in the real? This paper explores the pernicious theatricalization of sexual violence in early modern England, its trouble-making uptake in Shakespeare's Titus Andronicus, and Julie Taymor's contemporary response in her 1999 film version of the play. Along the way the article probes a handful of questions about theatre's social efficacy: what are the consequences of understanding theatre as a potentially malevolent form of public art and expression? How do we account for those moments when theatre poses genuine risk? And, more importantly, how do we build a response to, an ethics of, that risk into our own work as scholars and practitioners?
The Misanthrope / Molière ; translated by Henri Van Laun Note: The University of Adelaide Library eBooks @ Adelaide.
V tomto souboru 1. vyd. Překlad z angličtiny
Rosmersholm / Henrik Ibsen; translated by R. Farquharson Sharp Note: The University of Adelaide Library eBooks @ Adelaide.
The School for Scandal / Richard Brinsley Sheridan Note: The University of Adelaide Library eBooks @ Adelaide.
V tomto překladu vyd. 1. Přeloženo z francouzštiny
As you like it / William Shakespeare Note: The University of Adelaide Library eBooks @ Adelaide.
Theatre Journal 56.4 (2004) 672-674 Lisa Kron tells her audience what Well is "about" within minutes after walking on stage: "This play is about illness and wellness—why some people are sick and other people are well." She clearly revels in the didacticism of her remark, adding, "this play is not about my mother and me." It is, she intones, "a vehicle for a theatrical exploration of these issues in both an individual and a community." These phrases are repeated numerous times throughout the performance, and Kron grows more and more insistent with each repetition. While illness and wellness (whether in an individual or a community) are central to Well, it is equally about storytelling—the process, the limitations, the perpetual failures of art to truly capture and depict objective reality. Most importantly, it is about the desperate and continual need to keep on telling one's story in spite of it all. Directed by Leigh Silverman, Well is billed as a "solo show with other people." Solo performance is, of course, Kron's stock in trade, as made memorably clear through her previous piece, 2.5 Minute Ride. It is the "other people" who create the complications, mucking up the works as Kron struggles to maintain control over her story, to maintain the boundary between the personal and the universal ("this play is not about my mother and me"), and between reality and art ("it is a vehicle for theatrical exploration of these issues"), while the other characters, most notably her mother, played by Jayne Houdyshell, reject her vision, challenge her facts, and eventually refuse to participate in the charade, leaving Kron, once again, in a solo show. The contrasting worlds of reality and theatre are physically grounded in the magnificent set design by Allen Moyer, complemented by Christopher Akerlind's lighting. The stage juxtaposes two very different aesthetics: stage right presents a grand, empty theatrical space—majestic white columns, a blue wash of light—seemingly infinite and universal in its possibilities. Stage left offers its opposite: a cluttered, junked up room—file cabinets, curio cabinets, knickknacks, table lamps, and a reclining chair—crammed into a claustrophobically small space. Stage right is Kron's world; stage left is her mother's domain, from which Kron (she hopes) has escaped. On stage right, she presents sometimes comic, sometimes touching vignettes with her ensemble of actors (Kenajuan Bentley, Saidah Arrika Ekulona, Joel Van Liew, and Welker White, all of whom play numerous roles). These include scenes from Kron's childhood and adolescence—from the "Westside Neighborhood Association," where her mother worked valiantly to help peacefully integrate the Lansing inner city where they lived, to the residential hospital allergy unit where Kron attempted to cure herself of the mysterious ailments that seem to plague her family. Whereas in 2.5 Minute Ride, as the lone body on stage, Kron controlled the story and the world, things become less simple once actors are involved. Instead of embodying her vision and perspective, the sketches begin to disintegrate as her mother intervenes, speaking from her perch stage left, arguing that Lisa is not depicting the reality but an oversimplified (and therefore incorrect) version of it. As Lisa tries to keep the play on course, her actors take a shine to her mother and seem to prefer her version over Lisa's—asking her what the real story was, asking how they should play the allergy patients, asking her for help with their own allergies, crossing freely between the designated theatrical space and the cluttered space of reality. Eventually, frustrated over her inability to control her own story, Kron abdicates, leaving her mother alone on stage valiantly attempting to convey the complexity of their shared history. After an offstage debate on what to do about what they see as Lisa's betrayal of her mother, the ensemble emerges from the wings and addresses the audience directly: "We apologize for this. We didn't have anything to do with it. We were just hired to be in it." The metatheatrical elements have the potential to become...
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