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Circle Mirror Transformation, Otterbein University Theatre and Dance Department 2017 Otterbein University

Circle Mirror Transformation, Otterbein University Theatre And Dance Department

2012 Summer Theatre

A sharply funny new play by emerging playwright Annie Baker, Circle Mirror Transformation follows five people through a summer of "creative drama" in their small town's adult acting class. Led by their bohemian acting coach, the five experiment with harmless theatre games that unexpectedly lead to poignant discoveries about themselves and each other. At turns, surprisingly funny and subtly insightful, this revealing play reminds us why theatre is the most human of all arts.


Barefoot In The Park, Otterbein University Theatre and Dance Department 2017 Otterbein University

Barefoot In The Park, Otterbein University Theatre And Dance Department

2012 Summer Theatre

What happens when two very different people fall in love? Paul likes to wear his gloves in the winter and Corie wants to walk barefoot in the park. Mix in the crazy neighbors upstairs, Victor Velasco, who "wears Japanese kimonos and sleeps on rugs" and Corie's mother who "wears a hairnet and sleeps on a board" and expect some complications. Set in 1963, Barefoot in the Park captures the tension between the freedom of the burgeoning 60's and the conventions of the waning 50's. Corie and Victor are pre-hippies, attuned to their libidos and their desire for ...


Theatre For Social Change: Histories & Applications, Samantha J. Hageman 2017 Ursinus College

Theatre For Social Change: Histories & Applications, Samantha J. Hageman

Theater Summer Fellows

Theater is not only an art form, but also a method of communication and community-building. My research investigates how theater can be used to create social change. I study approaches to using theater as a vehicle for social change and a tool to communicate diverse perspectives and cultivate empathy. My work focuses on a history of theater for social change, examples of theater for social change including plays and performance pieces, and ways of both creating and teaching theater for social change. My project culminates in an annotated bibliography, a research paper, an original theater for social change monologue, and ...


French Theater And The Memory Of The Great War, Susan McCready 2017 University of South Alabama

French Theater And The Memory Of The Great War, Susan Mccready

Studies in 20th & 21st Century Literature

A systematic examination of the ground on which French-language playwrights chose to stage their confrontation with the war would expose many of the literary and cultural biases on which our collective memory of the Great War is based. Even the brief outline of French-language war plays provided in this essay challenges many of our most cherished assumptions about war experience and the meaning of the Great War.


"Propaganda For Democracy": The Vexed History Of The Federal Theatre Project, Karen E. Gellen 2017 The Graduate Center, City University of New York

"Propaganda For Democracy": The Vexed History Of The Federal Theatre Project, Karen E. Gellen

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

My thesis explores and analyzes the Federal Theater Project’s cultural and political impact during the Depression, as well as the contested legacy of this unique experiment in government-sponsored, broadly accessible cultural expression. Part of the New Deal’s Works Projects Administration, the FTP aimed to provide jobs for playwrights, actors, designers, stagehands, and other theater professionals on relief in the stark period from 1935 to 1939. But the project became a nationwide political and artistic flashpoint, spurring fierce debate over the leadership, politics and impact of this “people’s theater.” The FTP gave professional theater an unprecedented reach into ...


The Second Pen, Nicholas D. Brennan 2017 CUNY Hunter College

The Second Pen, Nicholas D. Brennan

School of Arts & Sciences Theses

"The Second Pen" evaluates the historical relevancy of prevalent monikers for William Shakespeare-- namely, "The Bard," "Swan of Avon," and "Upstart Crow." While Brennan finds the general concept of the moniker to encapsulate Shakespeare's current historical legacy, he equally finds the aforementioned monikers to misrepresent this. Brennan offers "The Second Pen" as a moniker for Shakespeare that redresses the distortions of the others. He concentrates his defense of its relevancy around a defense of William Shakespeare as the "second pen" which Ben Jonson's 1605 Sejanus quarto names as a collaborator in the writing of a preceding stage version ...


The Force Of Seduction: The Use Of Rape Narratives In The Plays Of Aphra Behn, Caitlyn Piccirillo 2017 CUNY Hunter College

The Force Of Seduction: The Use Of Rape Narratives In The Plays Of Aphra Behn, Caitlyn Piccirillo

School of Arts & Sciences Theses

The English Restoration’s heightened interest in sexuality promoted the use of rape narratives on the stage. Aphra Behn, the first woman to earn her living as a playwright, used these narratives in her work (specifically in The Rover and The City Heiress) as a means of social critique.


"Hippie Acid Freak Drag Queens:" Situating The Cockettes Within An Art Historical Context, Scott Dow 2017 CUNY Hunter College

"Hippie Acid Freak Drag Queens:" Situating The Cockettes Within An Art Historical Context, Scott Dow

School of Arts & Sciences Theses

This thesis situates the Cockettes – a performance group rarely referenced in art historical discourse - within Bay Area performance art, second-wave feminist art, and the Gay Liberation Movement. Contextualizing the Cockettes within their contemporary art movements provides a new understanding of the group and emphasizes their significance to art history.


The Female Writer And Her Female Characters: A Coming Of Age Story, Stephanie N. Grilo 2017 University of New Mexico

The Female Writer And Her Female Characters: A Coming Of Age Story, Stephanie N. Grilo

Theatre & Dance ETDs

In this essay, I review my growth and learning as a playwright in this MFA program. I position my play, Red Dirt, within the context of psychoanalysis and feminist theory as a study of the behavioral patterns that emerge when female melancholia and violent masculinity collide. I examine the praxis of my writing and research methodologies, as well as the technical, thematic, and academic aspects of my writing practice.


God’S Theatre: Voice Of A Frustrated Generation Of Theatre Students In 1980s Finland, Sanni M. Lindroos 2017 Lake Forest College

God’S Theatre: Voice Of A Frustrated Generation Of Theatre Students In 1980s Finland, Sanni M. Lindroos

Senior Theses

In 1987, four acting students who called themselves “God’s Theatre” from the Theatre Academy of Helsinki appeared naked on the stage Oulu City Theatre in Central Finland. One of the students split his wrists open with a razor blade, while the rest of the group attacked the audience with eggs, human feces, a fire extinguisher, and a baton. Finnish media labelled the act as terrorism and even a murder attempt. After being imprisoned for ten days, the students were allowed to continue their studies at the academy. Thirty years later, the Oulu incident still remains a part of the ...


"We Are Family": The Influences Of American Culture On The Representation Of Family In Modern American Drama, DeAndre C. Short 2017 Lynchburg College

"We Are Family": The Influences Of American Culture On The Representation Of Family In Modern American Drama, Deandre C. Short

Student Scholar Showcase

The dramatic works that subject usually deals with the family unit reflect a particular issue in American culture—politically or socially. American playwrights often use their work to challenge popular ideologies and values embedded into American society. Often modern American drama incorporates political, social, and cultural issues as a means to develop the relationship between the family unit. The familial relationship(s) in modern American drama are influenced by the political, social, and cultural environments in the United States.


Not The Truth We Seek: The Story Of A Mime, Fierce Women, Proposals, & Pro Wrestling, Steven Meeker Jr. 2017 Otterbein University

Not The Truth We Seek: The Story Of A Mime, Fierce Women, Proposals, & Pro Wrestling, Steven Meeker Jr.

Distinction Papers

THE SPARK

I have always believed that the best theater comes from a very real and sometimes very painful place. My parents were undergoing a brutal and very open separation and then divorce throughout my junior and senior year of high school. In the middle of the constant war zone that was our home, my brother and I would simply go from one room to the other with our heads down and as quick as possible. The only day we would linger in the living room would be Mondays. On Monday nights, my brother and I owned the living room ...


Cross(Ing) The Line: Leadership In Devised Theatre, Monica Furman 2017 Chapman University

Cross(Ing) The Line: Leadership In Devised Theatre, Monica Furman

Honors Papers and Posters

“Traditional" (Western) theatre focuses on the relationship between the playwright and the director. Devised theatre is a reaction to the dominant ideology; it is ensemble-created original work. A group of artists collaborate and create a play with no script and, sometimes, no initial theme or message. They use various different art forms as well as interviews and narratives to create a theatrical experience.


The Aesthetic And Philosophical Integration Of Parkour With Bartenieff Release-Based Modern Dance, Rhett Spongberg 2017 Loyola Marymount University

The Aesthetic And Philosophical Integration Of Parkour With Bartenieff Release-Based Modern Dance, Rhett Spongberg

Dance Department Student Works

No abstract provided.


Contents - Edward Gordon Craig Special Issue 2017, Jennifer A. Buckley, Anne Holt 2017 University of Iowa

Contents - Edward Gordon Craig Special Issue 2017, Jennifer A. Buckley, Anne Holt

Mime Journal

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.


Editors' Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig, Jennifer A. Buckley, Anne Holt 2017 University of Iowa

Editors' Note - Action, Scene, And Voice: 21st-Century Dialogues With Edward Gordon Craig, Jennifer A. Buckley, Anne Holt

Mime Journal

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, Olga Taxidou 2017 The University of Edinburgh

The Dancer And The Übermarionette: Isadora Duncan And Edward Gordon Craig, Olga Taxidou

Mime Journal

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 ...


The Revolutionary: On Isadora Duncan And Edward Gordon Craig, Jennifer A. Buckley, Lori Belilove 2017 University of Iowa

The Revolutionary: On Isadora Duncan And Edward Gordon Craig, Jennifer A. Buckley, Lori Belilove

Mime Journal

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 ...


Edward Gordon Craig, Étienne Decroux, And The Rediscovery Of Mime, Harvey Grossman 2017 Instituut Voor Scheppende Ontwikkeling

Edward Gordon Craig, Étienne Decroux, And The Rediscovery Of Mime, Harvey Grossman

Mime Journal

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.


Edward Gordon Craig's Übermarionette And Étienne Decroux's "Actor Made Of Wood", Thomas Leabhart, Sally Leabhart 2017 Pomona College, Claremont, CA, USA

Edward Gordon Craig's Übermarionette And Étienne Decroux's "Actor Made Of Wood", Thomas Leabhart, Sally Leabhart

Mime Journal

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 ...


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