Theatre History Commons^™

Oral History Of Professional Theater Beaders In New York City, Mary Lalon Alexander

Theses & Dissertations

A historic division between fine and mechanical arts led to a marginalization of certain art forms including textile beading and embroidery. Despite the opulence of beading and embroidery in theater costumes, there is limited documented history and scant scholarly literature about professional beading and the beaders who create the costumes. The aims of this study were to construct a history of professional theater beading in New York and to examine the oral histories of professional theater beaders. This qualitative oral history study included 12 participants who work in the professional beading industry. Open-ended interviews took place in New York City …

Dance Usm! Program [2014], University Of Southern Maine Department Of Theatre

Programs 2014-2015 Season

Directed by Maria Tzianabos

Dance 2014: Tell Tale Poe, Otterbein University Theatre And Dance Department

2014-2015 Season

Mystery and Macabre...Beauty and Horror...Love and Abandonment...Edgar Allen Poe has been documented as a complex genius who found both beauty and horror in the world and then described all of it in his abundance of writings. In honor of this man and his genius we have joined a group of artists and visionaries in dance, sound, lighting, costuming, and digital projections to create a portrait of sensations, sweet sound and the wild beauty of Poe's echoing and enduring dreams.

Tollerators And Con-Tollerators (1703) And Archibald Pitcairne: Text, Background And Authorship, John Macqueen

Studies in Scottish Literature

Discusses the historical background and theatrical characteristics of a short satirical play set in Edinburgh in 1703, giving the background to the Scottish Parliament's divisions over (and presbyterian hostility to) an act to give religious toleration to Episcopalian ministers; argues that the most probable author is the Jacobite poet and playwright Dr. Archibald Pitcairne (1652-1713); and presents the first modern annotated text of the play.

Decolonizing Shakespeare: Race, Gender, And Colonialism In Three Adaptations Of Three Plays By William Shakespeare, Angela Eward-Mangione

USF Tampa Graduate Theses and Dissertations

What role did identification play in the motives, processes, and products of select post-colonial authors who "wrote back" to William Shakespeare and colonialism? How did post-colonial counter-discursive metatheatre function to make select post-colonial adaptations creative and critical texts? In answer to these questions, this dissertation proposes that counter-discursive metatheatre resituates post-colonial plays as criticism of Shakespeare's plays. As particular post-colonial authors identify with marginalized Shakespearean characters and aim to amplify their conflicts from the perspective of a dominated culture, they interpret themes of race, gender, and colonialism in Othello (1604), Antony and Cleopatra (1608), and The Tempest (1611) as explicit …

Tartuffe

Taylor Theatre Playbills

The playbill for Taylor University’s Fall 2014 performance of Tartuffe by Molière.

Taylor University's Theatre department proudly presents, "Tartuffe", a pinnacle of classical comedy. Written by renowned French playwright Molière in 1664, "Tartuffe" follows a hypocrite's attempts to sabotage the domestic happiness of an unsuspecting family.

Friends Of Musselman Library Newsletter Fall 2014, Musselman Library

Friends of Musselman Library Newsletter

Table of Contents: From the Director: Gettysburgreat: The Campaign for Our College (Robin Wagner); Popular Middle East Series Continues; Letter from Edgar Rice Burroughs Explains Origin of Tarzan's Name; Library Celebration Owl & Nightingale's 100th Anniversary (Chelsea Bucklin '10, Chris Kauffman '92, Elyse Bennett '10); Encore! Owl & Nightingale Players Take Center Stage at Homecoming (Paul Di Salvo '13, Chelsea Bucklin '10, Aliena J. (Fischer) Garnard '93, Kelsey Lamagdeleine '09, Sean Valentine '05); Research Reflections: Shakespeare Folio (Chris Kauffman '92); GettDigital- The Story Continues: Professor Visits Italy and Recreates WWII Photos (Alan Perry, Catherine Perry); Don't Be Antisocial; Obama Awards …

The Fight Master, Fall 2014, Vol. 36 Issue 2, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

Bus Stop Program, University Of Southern Maine Department Of Theatre

Programs 2014-2015 Season

A comedic drama by William Inge

Directed by Thomas Power

This production was a Participating entry in the Kennedy Center American College Theater Festival (KC/ACTF).

Playback Theatre

Taylor Theatre Playbills

The playbill for Taylor University’s Fall 2014 performance of Playback Theatre.

Interactive and spontaneous, Playback Theatre bases its material on the stories of the community. During a performance, audience members respond to questions from the conductor and share their stories, then watch as the company immediately “plays back” their words as a theatrical moment.

Playback is an opportunity for stories to be heard and acknowledged in a meaningful way. In every occasion, central to our theatre experience is our faith in Jesus Christ and applying the truth of Scripture to the reality of the everyday stories presented throughout the evening.

Ridiculous Geographies: Mapping The Theatre Of The Ridiculous As Radical Aesthetic, Kelly Aliano

Dissertations, Theses, and Capstone Projects

This dissertation is a comprehensive study of the artists associated with the Theatre of the Ridiculous. The discussion begins with Charles Ludlam, the most famous practitioner of the form and then extends to artists with whom he collaborated, including Jack Smith, the Play-House of the Ridiculous, Ethyl Eichelberger, and Charles Busch. The argument traces the overlapping aesthetic qualities of all of these theatre practitioners; they all shared a reverence for popular culture of the twentieth century; they all blended references from high and low culture in their dramaturgy; and they all created performances that took a unique approach to cross-dressed …

Sweet Charity, Otterbein University Theatre And Dance Department

2014-2015 Season

Charity Hope Valentine always tries to look on the bright side of life, despite working in a rundown dance hall and contending with a seemingly endless run of bad dates. Determined to find love, Charity falls for suave actor Vittorio Vidal, but their romance is all too brief. However, when Charity finds herself stuck in an elevator with the reserved Oscar Lindquist, it turns out that she may have finally met her match.

Wit

Taylor Theatre Playbills

The playbill for Taylor University’s Fall 2014 performance of Wit by Margaret Edson.

Wit (or W;t) takes place over the final hours of Dr. Vivian Bearing, a university English professor, who is dying of Ovarian cancer. The course of the play is her reflecting on her life through the intricacies of the English language, particularly focusing on the wit found in the poetry of John Donne.

In this program the Jason Francis Memorial Scholarship Fund is announced.

The Well Of Horniness Program, University Of Southern Maine Department Of Theatre

Programs 2014-2015 Season

A comedic radio play by Holly Hughes

Directed by Meghan Brodie

This production was a Participating entry in the Kennedy Center American College Theater Festival (KC/ACTF).

We Are French. Et Anglais Nous Restons., Alison Jane Bowie

Masters Theses

French Canadian playwright Joseph Armand Leclaire (1888-1931) was very well known and respected in his time. Although he wrote over thirty plays, lyrics to several songs and an abundance of political poems, most of his work has been lost and Leclaire himself seems to have been forgotten. Several of his plays were produced at the time they were written, including his 1916 play La petite maîtresse de l'école (later published in 1929 as Le petit maître d'école), but none have been presented postumously nor have any been translated. This M. F. A. thesis presents the first ever translation and …

Nineteenth Century Views On Theater And Drama In English, Rebecca Unetic

Journal of Undergraduate Research at Minnesota State University, Mankato

With the passing of the Licensing Act of 1737 and until its repeal in 1969 the Lord Chamberlain’s office has been legally able to censor any drama to be performed at established theatres in England. However, the 1737 Act left inconsistencies in the definition of censorship and the role of censor. People who were involved in theatre believed the Lord Chamberlain’s office gained too much power from the Act. In the nineteenth century, actors, playwrights and members of Parliament agitated for the reform of the 1737 Licensing Act, which led to the establishment of three special parliamentary committees in 1822-1823, …

2014 - 2015 Season Brochure, Otterbein University Department Of Theatre And Dance

Theatre and Dance Annual Brochures

Annual promotional piece of the upcoming season's shows.

Front Matter, Contents - Grotowski And His Legacy In Poland, Kathleen Cioffi

Mime Journal

No abstract provided.

Challenge, Chaos, And Collaboration: Two Weeks With Studium Teatralne, Katharine Noon

Mime Journal

Katharine Noon, the artistic director of the Ghost Road Company, a Los Angeles theatre troupe, describes Ghost Road’s collaboration with Studium Teatralne, a Warsaw theatre company headed by Piotr Borowski, a former collaborator with Jerzy Grotowski at the Workcenter. Borowski and the Studium Teatralne actors work in a more athletic physical way than the American actors typically do, and the Americans learned this method from the Warsaw actors. The Warsaw group also gained from the collaboration, however: Ghost Road hosted them when they came to Los Angeles to perform, and they also learned Ghost Road’s methods for adapting texts.

Madness And Method: Improvisation In The Theatre Of The Eighth Day, Lech Raczak

Mime Journal

Lech Raczak, the director of the Theatre of the Eighth Day for twenty-five years, describes the method of physical improvisation derived from Jerzy Grotowski that the troupe used to create productions. The Eighth Day used Grotowski’s methods to create productions that were very different in tone and content from those that Grotowski’s Laboratory Theatre created. They became famous for their stance of opposition to the Communist regime.