Embodying Rhythm Nation: Multimodal Hip Hop Dance As A Site For Adolescent Social-Emotional And Political Development, 2017 The Graduate Center, City University of New York
Embodying Rhythm Nation: Multimodal Hip Hop Dance As A Site For Adolescent Social-Emotional And Political Development, Lauren M. Roygardner
All Graduate Works by Year: Dissertations, Theses, and Capstone Projects
This exploratory study employed qualitative methodology, specifically values analysis, to learn more about how being involved within Hip hop dance communities positively relates to adolescent development. Adolescence was defined herein as ages 13-23. The study investigated Hip hop dance communities in terms of cultural expertise (i.e. novice, intermediate and advanced/expert) to look specifically at dance narratives (i.e. peak experience narratives and “I dance because” essays) and hip hop dance performances. The primary purpose of this dissertation was to (1) explore how adolescents use multimodal Hip hop dance discourse for social-emotional development and critical consciousness, and to (2 ...
Hamlet: An Illuminating Look At Tragedy, 2017 University of Nebraska-Lincoln
Hamlet: An Illuminating Look At Tragedy, Maxx Finn
Student Research and Creative Activity in Theatre and Film
This thesis describes the research and production process of the lighting design of Hamlet, adapted by Wesley Broulik, performed in Howell Theatre, from November 17 through December 4 at the Johnny Carson School of Theatre and Film at the University of Nebraska. Hamlet was directed by Wesley Broulik. Maxx Finn acted as the production’s lighting designer, Kaitlyn Peterson designed the set, Haley Williams designed the costumes, Emily Callahan designed the sound, Andrea Besch acted as the properties master, and Travis Smith was the acting technical director.
This thesis contains the entire lighting design process for Hamlet, including initial meetings ...
Signs Of Love, 2017 Kent State University
Signs Of Love, Abbey Matye, Joe Pine
Undergraduate Research Symposium
As theatre artists, it is our responsibility to respond to the world around us and allow our work to embody that response. As the world rapidly changes, I tried to focus in on my little part of it: The School of Theatre & Dance at Kent State University. Last semester when I started learning American Sign Language I realized that my school infrequently provides opportunities for D/deaf students on campus to experience or be involved in our productions. After investigating, I learned that the lack of participation stems from a lack of access. The project I have put together as ...
Sameena Mustafa Interview, 2017 DePaul University
Sameena Mustafa Interview, Uyanga Chinzorig
Asian American Art Oral History Project
Bio: Sameena Mustafa is a stand-up comedian, actor, and writer named in the Chicago Reader’s Best of Chicago 2016 issue. She has been featured in videos by The Onion and performed on world-famous stages like the Laugh Factory and Biograph Theater. A Northwestern University graduate, Sameena is a sought-after speaker and host, praised for founding Simmer Brown, a comedy showcase featured in the Chicago Sun-Times and Redeye Chicago.
Contents - Edward Gordon Craig Special Issue 2017, 2017 University of Iowa
Contents - Edward Gordon Craig Special Issue 2017, Jennifer A. Buckley, Anne Holt
Cover, front matter, and contents for Mime Journal Special Issue, "Action, Scene, and Voice: 21st-Century Dialogues with Edward Gordon Craig." Guest editors: Jennifer Buckley and Annie Holt.
Edward Gordon Craig, Étienne Decroux, And The Rediscovery Of Mime, 2017 Instituut Voor Scheppende Ontwikkeling
Edward Gordon Craig, Étienne Decroux, And The Rediscovery Of Mime, Harvey Grossman
In this edited transcription of his remarks at the 2013 Pomona College (California) conference “Action, Scene and Voice,” Harvey Grossman elucidates the theory and practice of his two most important teachers: Edward Gordon Craig and Étienne Decroux. Grossman elucidates Craig’s much-debated comments on the “Art of the Theatre,” as well as Craig’s influence upon the French corporeal mime Étienne Decroux. He relates in detail Craig’s positive response to seeing Decroux and his students (among them Jean-Louis Barrault and Éliane Guyon) perform in 1945.
Walk: Artist's Statement, 2017 Independent Artist, Los Angeles
Walk: Artist's Statement, Yozmit Walker
Testifying to Thomas Leabhart’s legacy as a corporeal mime performer and educator, his former student Yozmit reflects on her performance piece “Walk,” a site-specific work created for a 2013 conference on Edward Gordon Craig at Pomona College (CA). Yozmit describes the way Leabhart’s teaching – partly inspired by Craig’s work – helped her to explore the balance between artistic thought and rigorous physical training.
Edward Gordon Craig's Übermarionette And Étienne Decroux's "Actor Made Of Wood", 2017 Pomona College, Claremont, CA, USA
Edward Gordon Craig's Übermarionette And Étienne Decroux's "Actor Made Of Wood", Thomas Leabhart, Sally Leabhart
Thomas Leabhart testifies to Edward Gordon Craig’s continuing influence on postmodern mime and movement. Leabhart discusses the influences that shaped Craig’s theory of acting. He then considers what the living actor and Craig’s “übermarionette” have to say to each other, putting pressure on the binary between human and non-human performers, especially in physical theater. Himself a student from 1968-72 of Étienne Decroux, the French corporeal mime and teacher whom the elderly Craig recognized as an “artist of the theatre,” Leabhart relates how he carries on Decroux’s pedagogy and legacy as a performer and teacher of corporeal ...
The Revolutionary: On Isadora Duncan And Edward Gordon Craig, 2017 University of Iowa
The Revolutionary: On Isadora Duncan And Edward Gordon Craig, Jennifer A. Buckley, Lori Belilove
Jennifer Buckley interviews dancer, choreographer, and teacher Lori Belilove on Isadora Duncan’s practice and legacy. Belilove argues for Duncan’s modernism, and emphasizes her impact upon Edward Gordon Craig’s developing aesthetic and his career. This edited transcription of their conversation takes its point of departure from Craig’s portfolio of six drawings of Duncan in action, Isadora Duncan: Sechs Bewegungsstudien, Insel Verlag, 1906. Belilove sees both Craig and Duncan as poised between late Victorianism and modernism, and she contends they shared a modernist impulse toward abstraction. Belilove also comments on her own practice as a performer and as ...
Speaking Looks: A Conversation About Costume With Edward Gordon Craig, Léon Bakst, And Pablo Picasso, 2017 independent scholar
Speaking Looks: A Conversation About Costume With Edward Gordon Craig, Léon Bakst, And Pablo Picasso, Annie Holt
Holt focuses on Craig’s influential stage designs in relation to the performing body. Through costume design, Holt rethinks Craig’s relationship with the designs of the Ballets Russes, placing him in context with the experimentations of his contemporaries Leon Bakst and Pablo Picasso. Holt frames these designers’ historic opposition as a difference of opinion around the way that costumes can carry meaning. She argues that while all three designers used similar visual language and agreed that costumes should communicate with audiences, each artist used a different model for this communication – speech (Craig), music (Bakst) and writing (Picasso).
Picturing Robinson Crusoe: Edward Gordon Craig, Daniel Defoe And Image-Text Inquiry, 2017 Scripps College
Picturing Robinson Crusoe: Edward Gordon Craig, Daniel Defoe And Image-Text Inquiry, Eric T. Haskell
Haskell focuses on Craig’s work with art books in this essay. He offers a wealth of visual images to investigate influences upon Craig’s engraved illustrations for an edition of Defoe’s Robinson Crusoe, a project planned for the Cranach Press, executed during the late 1930s, and published posthumously by the Basilisk Press in 1979. Haskell calls attention to the way that this fascinating edition—previously overshadowed by the Craig-Cranach Press Hamlet in the scholarly literature—adds to our understanding of Craig’s theories of print as performance. He also offers a nuanced reading of the way that Craig ...
Appendix: Program, Edward Gordon Craig Conference 2013, Pomona College, 2017 Claremont Colleges
Appendix: Program, Edward Gordon Craig Conference 2013, Pomona College, Mime Journal
Conference program for "Action, Scene, and Voice: 21st-Century Dialogues with Edward Gordon Craig," at Pomona College, Claremont, California, March 2013.
Our Puppets, Our Selves: Puppetry's Changing Paradigms, 2017 CUNY Hunter College
Our Puppets, Our Selves: Puppetry's Changing Paradigms, Claudia Orenstein
Taking up the topic of puppetry, Orenstein forges connections between Craig’s vision of the übermarionette and the rise of “New Puppetry” today. She examines the use of puppets to explore similarities and differences between the technological anxieties of modernists versus contemporary artists. In addition, she calls for a more careful and contextualized attention to Craig’s puppet theory, with a close reading of the übermarionette passage in "On the Art of the Theatre." Orenstein returns to some of the most well-known and much-studied passages and theories from Craig’s early work, but considers them from the fresh vantage point ...
Editors' Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig, 2017 University of Iowa
Editors' Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig, Jennifer A. Buckley, Anne Holt
A roadmap to this Special Issue of Mime Journal. This issue emphasizes the tissue of influences that shaped Craig’s own work and continue to impact contemporary theater and performance. By focusing on the historical contexts in which his ideas were developed and those in which they have been received, the essays counter the widely held perception of Craig as the solitary genius of the “Art of the Theatre.” His claims of originality and singularity have too often obscured the connections between his work and that of other artists—especially the dancer Isadora Duncan, upon whom two of the pieces ...
The Dancer And The Übermarionette: Isadora Duncan And Edward Gordon Craig, 2017 The University of Edinburgh
The Dancer And The Übermarionette: Isadora Duncan And Edward Gordon Craig, Olga Taxidou
Olga Taxidou analyzes the ambiguous concept for which Edward Gordon Craig is best known—the “übermarionette”—alongside Isadora Duncan’s discussions of the liberated dancer. Highlighting the emphasis on futurity in Craig’s and Duncan’s manifestos and theories, she contends that this pairing works to undo the binaries between Hellenism and modernism, and between mechanistic and vitalistic aesthetics. Emphasizing the impact of Nietzsche’s The Birth of Tragedy (1872) and Charles Darwin’s evolutionary theories upon Duncan’s theory and practice, Taxidou locates Duncan within an intellectual vanguard that includes Jane Harrison and her fellow Cambridge Ritualists as well ...
Hamlet's Last Act: Artist's Statement, 2017 Freelance Artist, New York
Hamlet's Last Act: Artist's Statement, Sam J. Gold
Gold contextualizes his performance piece Hamlet’s Last Act (video will be available on the Action, Scene, and Voice website going live in Summer 2017). He reflects on his own journey and process in creating the show, and also offers some fascinating information about Craig’s relationship to Asian puppetry traditions. Gold’s innovative show turns Craig’s wood engravings for the Cranach Press Hamlet into Balinese wayang kulit shadow puppets; Gold later discovered that Craig actually knew of this genre and referenced it in certain works. Gold explains how in Hamlet’s Last Act, Craig’s published engravings literally ...
Dreaming Of Light: On Edward Gordon Craig, 2017 University of California, Los Angeles
Dreaming Of Light: On Edward Gordon Craig, Peter Sellars
Sellars reflects on Craig’s legacy, emphasizing Craig’s focus on “making theatre out of light,” and casting Craig as “John the Baptist to Bob Wilson.” Sellars highlights the importance of Craig’s “keeping the dream space open,” but he also criticizes Craig for not traveling to experience the predominantly Asian cultures whose performance traditions he appropriated. Craig and Sellars have a shared interest in the functions of Baroque opera in socially cataclysmic times; Sellars speaks about the influence of Craig upon his stagings of Purcell and the St. Matthew Passion (first staged in 2010). Sellars celebrates Craig’s attempt ...
The Who's Tommy, 2017 Chapman University
The Who's Tommy
The Who's Tommy
Book by Des McAnuff and Pete Townshend
Music and Lyrics by Pete Townshend
Additional Music and Lyrics by John Entwistle and Keith Moon
Directed by Oanh Nguyen
Rock musical; adult language and content as well as strobe lighting effects will be utilized
Based on the iconic 1969 rock concept album, The Who’s Tommy is an exhilarating story of hope, healing, and the human spirit. The story of the pinball-playing, deaf, dumb and blind boy who triumphs over his adversities has inspired, amazed, and puzzled audiences for more than 40 years. This five-time Tony Award-winning musical ...
On Behalf Of Theatre In Rural America, 2017 Northwestern College - Orange City
On Behalf Of Theatre In Rural America, Robert J. Hubbard
This essay is a theatre review with a sense of place: the small-town-rural upper Midwest in the spring of 2008. The author assesses Tim Robbins, Dead Man Walking, as staged at Dordt College, Sioux Center, Iowa; Jeff Barker, Terror Texts, as staged at Northwestern College, Orange City, Iowa; and Adam Long, Reed Martin, and Austin Tichenor, The Complete Works of William Shakespeare, Abridged, as staged at Augustana College, Sioux Falls, South Dakota.
News - Oconee County Library, Athens Regional Library System, 2017 Athens Regional Library System
News - Oconee County Library, Athens Regional Library System, Rebecca Ballard
Georgia Library Quarterly
No abstract provided.