Thesis (M.A.)--University of Texas at Dallas, 1989. Performed at the University Theater, University of Texas at Dallas, Richardson, Texas, Sept. 15-17, 1988. Text includes an essay entitled "An open letter to Oldřich Daněk," and the author's translation of Oldřich Daněks's television play, "The woman from Corinth." Includes vita. Includes bibliographical references (leaves 118-123). Typescript (photocopy).
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Thesis (Ph. D.)--University of Texas at Austin, 1989. Vita. Includes bibliographical references (leaves 262-274). Microfilm. s
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Thesis (Ph. D.)--University of California, Los Angeles, 1996. Vita. Includes bibliographical references (leaves 329-361).
Read more January 2012
To conclude this volume with a discussion of the third century bc Sicilian poet Theocritus is in some aspects unsurprising. Though resident for at least part of his career in Alexandria at the court of the early Ptolemies, Theocritus came originally fromSyracuse, composed poetry in a literary Doric (and in a few cases withmarked Aeolic coloring), is indebted to both Sophron and Epicharmus in
... [Show full abstract] hiswork, and treats several mythological themes, among them Pentheus and theBacchants (Idyll 26), the marriage of Helen and Menelaus (Idyll 18) and the Cyclops (Idylls 6and 11), that had already been the subject of extensively varied generictreatment in tragedy (especially in the work of Euripides). Perhaps moresignificantly, Theocritus is himself the product of western Greek culture, including its dramatic culture, and so represents for us something of areflective window onto that culture – he is not a poet from Athens, nor, for that matter, from Boeotian Thebes, but from Syracuse. His is theSyracusan verse that Virgil evokes in the opening line of the sixth Eclogue. Yet when the editor first wrote to me proposing that I contribute a piece tothis volume on the topic of Theocritus and performance, I must admit that Iwas initially somewhat taken aback, though at the time I could not exactlyarticulate the reason for my hesitation. On further reflection I realizedthat my initial reaction was due not so much to the topic itself, which is achallenging and potentially rich one, as to my own early training inHellenistic poetry. For long a popular conception of Alexandrian culture wasa large-scale absence of theatrical performance, and indeed of poeticperformance of any kind. In spite of the preservation of large numbers ofearlier theatrical authors in papyri, and though we attain much of theinformation we have on Greek theater from the Hellenistic world, it was longsustained that the type of popular theatrical performance that characterizedfifth-century Athens, and for that matter the song performancecharacteristic of Archaic lyric, was incompatible with Alexandrian courtculture. Read more January 2010 · Germanic Review, The
Arguing against the idea of a “true, underlying story,” this article proposes using the concept of transformative poetics to understand Heinrich von Kleist's The Marquise of O—. According to this concept, the novella does not narrate an indubitable story, but creates or invents itself as it proceeds, as can be shown in different aspects of the story, such as the way in which the text implicitly
... [Show full abstract] treats its characters as actors and the Count's unexpected return after his alleged death. One consequence of this approach to the novella is that the references to biblical or mythological models lend themselves as tropes for the creative, transformative power of the poetic text. The text itself, in its poetic activity, becomes a kind of ironic daemon. Moreover, in this story about an instance of sexual violation, a positive type of violation is suggested—a violation of emptiness and silence—and the text itself is the guilty party. Read more January 2012
To conclude this volume with a discussion of the third century bc Sicilian poet Theocritus is in some aspects unsurprising. Though resident for at least part of his career in Alexandria at the court of the early Ptolemies, Theocritus came originally fromSyracuse, composed poetry in a literary Doric (and in a few cases withmarked Aeolic coloring), is indebted to both Sophron and Epicharmus in
... [Show full abstract] hiswork, and treats several mythological themes, among them Pentheus and theBacchants (Idyll 26), the marriage of Helen and Menelaus (Idyll 18) and the Cyclops (Idylls 6and 11), that had already been the subject of extensively varied generictreatment in tragedy (especially in the work of Euripides). Perhaps moresignificantly, Theocritus is himself the product of western Greek culture, including its dramatic culture, and so represents for us something of areflective window onto that culture – he is not a poet from Athens, nor, for that matter, from Boeotian Thebes, but from Syracuse. His is theSyracusan verse that Virgil evokes in the opening line of the sixth Eclogue. Yet when the editor first wrote to me proposing that I contribute a piece tothis volume on the topic of Theocritus and performance, I must admit that Iwas initially somewhat taken aback, though at the time I could not exactlyarticulate the reason for my hesitation. On further reflection I realizedthat my initial reaction was due not so much to the topic itself, which is achallenging and potentially rich one, as to my own early training inHellenistic poetry. For long a popular conception of Alexandrian culture wasa large-scale absence of theatrical performance, and indeed of poeticperformance of any kind. In spite of the preservation of large numbers ofearlier theatrical authors in papyri, and though we attain much of theinformation we have on Greek theater from the Hellenistic world, it was longsustained that the type of popular theatrical performance that characterizedfifth-century Athens, and for that matter the song performancecharacteristic of Archaic lyric, was incompatible with Alexandrian courtculture. Read more December 1998 · Shakespeare Quarterly
"Shakespeare in Production" examines a number of plays in context. Included are the 1936 "Romeo and Juliet," unpopular with critics of filmed Shakespeare, but very much a photoplay if its time; the opening sequences of filmed Hamlets which span more than seventy years; "The Comedy of Errors" on television, where production of this script is almost impossible; and the Branagh "Much Ado About
... [Show full abstract] Nothing," a popular film discussed in the context of comedy as a genre. In considering "Henry V, " this study looks at fifty years of Pistol on film and television to illustrate how changing times shape the character, and then includes the Branagh film in discussions of recent interpretations of history as reflected by productions of Shakespeare's history plays. An examination of late twentieth-century production of Hamlet suggests what the script has lost and gained as it has moved toward in time. A discussion of designer's theater in Great Britain, where all the elements of the production are dominated by concept, argues that the actors work within a restricting rather than a liberating artistic environment. Whose history? inevitably turns out to be that of the individual observer, for regardless of the criteria deployed criticism is an intensely subjective activity, and is meant to be when it deals with drama. In this discussion of Branagh's "Much Ado About Nothing," for example, the contemporary response to the film becomes the subject of the chapter. For, although the film is much more than what is said about it, it is also less, in that the critical response is part of the overall creative activity involved in a Shakespeare production." Read more January 2012
It has been recently pointed out that the relationship between opera and the fifth-century Attic tragedy can recall the image of a marriage manqué. This has been true at least until the twentieth century, when ancient drama became an inspiration for rethinking opera as a genre, and experimenting with new forms of expression, a new language and new subjects. The purpose of this paper is to
... [Show full abstract] summarize some aspects of the relationship between twentieth-century opera and the Attic tragedy, such as the effort to translate the ancient musical praxis into a modern form and the intervention on the original texts and dramaturgical structures. Because of the conventions of the operatic genre, the challenge for twentieth-century composers and librettists was to find original solutions to such problems as stichomythia, stage action, the role of the choir, and the correspondence between characters and vocal registers. Finally, it will be shown that the great interest with which twentieth-century culture has looked at Greek mythology has allowed the Attic tragedy to infuse the modern opera with a new identity. Read more
Thesis (Ph. D.)--University of Texas at Austin, 1989. Vita. Includes bibliographical references (leaves 262-274).
Read more June 2002 · Sexuality & Culture
Many in today’s theater audiences feel uncomfortable with The Taming of the Shrew because of its representation of a cruel man subduing an unruly woman. Although this can be understood as Shakespeare’s phallocentric
culture reflected in his writing, I argue that the Bard represents an even more viscous and intractable problem than gender
discrimination: humankind’s proclivity for cruelty and
... [Show full abstract] violence. In this essay, I show how Shakespeare represents this dangerous
tendency evenly on both sides of the gender divide and that whatever amusement we may derive from the farce reflects this
same tendency within ourselves. Read more May 1993 · Hispania
Critical studies of Jacinto Benavente's theatrical production treat La cenicienta, Yva de cuento..., and La novia de nieve as works of children's theater, but more than that, they are outstanding examples of the comedia de magia. The purpose of this essay is to analyze the three works as examples of the modern comedia de magia, focusing on their relationship to the eighteenth and
... [Show full abstract] nineteenth-century form. In particular, Benavente's version of each builds on traditional folktales instead of classical mythology or Biblical themes and evokes social, moral, and philosophical concerns. Read more April 2019 · Arteriais - Revista do Programa de Pós-Gradução em Artes
ResumoEste ensaio traz a fala de uma mulher que descobre em si um palhaço, mesmo atuando, há 13 anos, como palhaça. O encontro com o palhaço Uisquisito ocorreu em 2012, no grupo de teatro Palhaços Trovadores, do qual faço parte há 10 anos. A partir disso, atuar na palhaçaria com gêneros diferentes, feminino e masculino, trouxe-me reflexões não só na arte do palhaço, fato de ter dois palhaços, mas
... [Show full abstract] sobretudo, de se provocar discussões do que é uma mulher que tem um palhaço, que em suas primeiras experimentações faz leituras de poemas-manifestos. Com um olhar de pesquisadora para meu fazer artístico, escrever e ler poemas-manifestos se tornou uma característica do Uisquisito. Seus escritos sempre relacionados aos contextos políticos atuais da cidade de Belém, muitos referentes a falta de investimentos na área da cultura, ao descaso com os artistas, as limitações de acesso aos teatros e outros espaços para o movimento artístico na cidade. O Uisquisito me faz pensar na potência política que a comicidade tem, tanto no ato transgressor de uma mulher ser palhaça e ser palhaço por desejo, não por imposição, como era no circo antigamente, quanto na força de provocar reflexões sobre os contextos políticos na atualidade, trazendo o teatro, a comicidade e a palhaçaria como uma forte arma de discussão.AbstractThis essay brings the speech of a woman who discovers in herself a male clown, even though she has been acting for 13 years as a female clown. The meeting with the clown Uisquisito took place in 2012, in the theater group Palhaços Trovadores, which I have been a part of for the last 10 years. Acting through different gender in clowns brought me reflections, not only in the art of clown, in the fact of having two them, but most of all, provoking discussions of what is a woman who has a male clown, who in his first experiments performed poem-manifest readings. With a researcher’s eye at my artistic work, writing and reading poems-manifest has become a feature of Uisquisito. His writings are related to the current political contexts at the city of Belém, referring mainly to investments in the cultural area, neglect of artists, limitations of theaters and spaces for the artistic movement in the city. Uisquisito makes me think about the political power comedy has, first in the transgressing act of a woman being a being a male clown by desire, not by imposition, as it used to be in the circus of old. Second, in the force of provoking reflections on the political contexts nowadays, bringing the theater, comedy and clownery as a strong weapon of discussion. Read more December 2005 · Research in African Literatures
M. J. C. Echeruo's sober appraisal of the dramatic limits of Igbo ritual in 1971 had generated quite some spirited critical debate on the nature of Igbo/African theater. Pointing to the distinctive Eurocentrism of the Greek model privileged by Echeruo as the viable universal paradigm for the evolution of ritual into drama, several other Igbo scholars had sternly rebuked him for an alleged failure
... [Show full abstract] to recognize cultural distinctions in the dramatic form and consequently for the failure to advocate a culture-authenticating notion of drama. Esiaba Irobi's drama since the 1900s has re-opened this debate and, moreover, virtually constitutes a demonstration piece of Echeruo's postulations. Advancing insights deriving from Soyinka's formulation rooted in Yoruba theater, Irobi makes the theatrical basis of his truly challenging corpus the dramaturgy of demonstrable Igbo ritual performances. In his iconoclastic recuperation of Igbo myths and expansion of ritual to facilitate secular projects in a contemporary postcolonial society, Irobi constantly sets in relief a specifically Igbo theater/tragedy as well as foregrounds his audacious innovativeness. Read more Last Updated: 24 Jun 2022
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