Digital Humanities Commons^™

Gay Boy And Playboy Revues: Constructing U.S. Queer Collectivities In Networks Of Peripatetic Burlesque And Nightclub Drag Performers, 1933–1939, Kalle Westerling

Dissertations, Theses, and Capstone Projects

Across the United States, in the mid-1930s, drag made a transition, along with much other entertainment, from vaudeville into night clubs. There, concomitant with developing notions of gender and sexuality, it became increasingly associated with the contemporary expressions of drag that we see today in popular television shows like RuPaul’s Drag Race and in gay nightclubs across the country. In short, it became the queer form of entertainment. But in the 1930s, with such developing notions of gender and sexuality, it was not as easy as saying that it was a gay art form. Rather, as heterosexuality and heteronormativity took …

London Stage Database, Mattie Burkert, Will Daland, Emma Hallock, Todd Hugie, Lauren Liebe, Derek Miller, Dustin Olson, Ben R. Schneider Jr.

Browse all Datasets

Recovered files, and documents and archival data used to revitalize the London Stage Information Bank, which was completed in the 1970s but had become technologically obsolete.

Contents:

--Greene_2018_SITAR_3.5in_floppy: Files with this prepending them are program files for the SITAR word processing program, retrieved by Mattie Burkert in 2018 from a 3.5-inch floppy disk sent to her via mail by John Greene, who received it from Ben Schneider in or around 1990.

--Greene_2018_SITAR_5.5in_floppy: Files with this prepending them are program files for the SITAR word processing program, retrieved by Mattie Burkert in 2018 from a 3.5-inch floppy disk sent to her …

Did Hollywood Take Theatre "By Hook Or By Crook?", Catherine S. Wright

MSU Graduate Theses

Hollywood and Theatre have been partners in producing entertainment for over 100 years. The relationship was fruitful for both parties, but Hollywood moguls and playwrights battled over ownership of the work and crafting of its creative nucleus, story and character. Theatre was the dominant entertainment right before the rise of motion pictures. Once Hollywood’s talkies closed the curtain on silent films, playwrights had a high creative worth to movie makers. In the cinema, story and dialogue were essential for its survival and growth. Playwrights were courted by the Hollywood studio heads but were not offered equal partnership as they were …

Creating A Digital Theatre Collection, Sarah L. Whybrew

Library Faculty & Staff Scholarship

This presentation documents the project undertaken in 2017-2018 to digitize 60 years of Otterbein University Theatre History and create a web based online special collection in the Institutional Repository. It includes a discussion of how collaboration and partnerships were developed as well as a detailed description of the methods used to manage the project, student workers, and volunteers.

Should Theatre Disappear Like Soap Bubbles?, Erin Lee

Proceedings from the Document Academy

I recently read an excerpt from a 2004 interview with Peter Hall where he claims that he was happy for his materials to disappear "like soap bubbles" (Reason, 2006). One of the fundamentally difficult things about archiving theatre, aside from its ephemeral nature, is the approach that creatives take to their work. Not only do we need to battle the format of live performance but we also need to convince many creatives, not all I must add, that their work can and should remain in the Archive for use in the future. There are glimmers of potential in the area …

The Walking Dramaturg: An Autoethnographic Methodology For Performance Documentation, Giselle G. Garcia

Proceedings from the Document Academy

Technology usually implies the distancing of the human experience, but I argue what technology has enabled can teach us something about the role of multiplicity and the rhizomatic nature of history and storytelling. By looking at the subject position of the practicing performance researcher in terms of the walking dramaturg, the autoethnographic catalogue of such experience becomes a form of documentation in the archive of theatre histories. Taking the time to explore a nuanced understanding of the documeter’s subject position acknowledges the multifarious subject positions that contribute to the archive of theatre histories.

Beyond creating a record of evidence, I …

Voices Of Notators: Approaches To Writing A Score--Special Issue, Teresa L. Heiland

Journal of Movement Arts Literacy Archive (2013-2019)

In this special issue of Voices of Notators: Approaches to Writing a Score, eight authors share their unique process of creating and implementing their approach to notating movement, and they describe how that process transforms them as researchers, analysts, dancers, choreographers, communicators, and teachers. These researchers discuss the need to capture, to form, to generate, and to communicate ideas using a written form of dance notation so that some past, present, or future experience can be better understood, directed, informed, and shared. They are organized roughly into themes motivated by relationships between them and their methodological similarities and differences. …

Writing About Shakespeare: 1960–2010, Dominic Klyve, Laura Estill

Mathematics Faculty Scholarship

This dataset quantifi es writing (in number of articles, books, dissertations, and monographs) about each of Shakespeare’s plays during each year in the period 1960–2010. The information was extracted from the World Shakespeare Bibliography (www.worldshakesbib.org).

David Garrick's Masque Of King Arthur With Thomas Arne's Score (1770)., Todd Gilman

Todd Gilman

Gay Side Story Original Poster, Audacity Theater

Gay Side Story

Poster for original production of GAY SIDE STORY as presented in conjunction with Symposium X at the University of Southern Maine, 1983.

Gay Side Story Playbill, Gay Side Story Collection

Gay Side Story

1983 Playbill for Gay Side Story with forward by John Frank

WRITTEN BY

Avis

Diane Elze

Rico Estabrook

John Frank

Dale McCormick

Tony Norton

Cheryl Ring

Chris Thurston

WITH SPECIAL THANKS TO

Leonard Bernstein

Arthur Lawrence

Stephen Sondheim

Phil Spector

Gay Side Story Scrapbook, Gay Side Story Collection

Gay Side Story

Scrapbook containing photographs and ephemera from original 1983 production of Gay Side Story.

The full playbill can be seen here.

Gay Side Story Original Script, Diane Elze

Gay Side Story

Original script for Gay Side Story

WRITTEN BY

Avis

Diane Elze

Rico Estabrook

John Frank

Dale McCormick

Tony Norton

Cheryl Ring

Chris Thurston

Phantastes Chapter 14: Winter's Tale, William Shakespeare

German Romantic and Other Influences

William Shakespeare (1564-1616), The Winter’s Tale, published in 1623 in the First Folio.

Phantastes Chapter 20: The Faithful Shepherdess, John Fletcher

German Romantic and Other Influences

John Fletcher (1579-1625) was a contemporary of William Shakespeare and followed him as main playwright for the King’s Men. The Faithful Shepherdess (produced in 1608, probably published in 1609) is also important for Fletcher’s definition of tragicomedy, which highlights the importance of near-death to the genre.

Phantastes Chapter 22: The Revenger's Tragedy, Cyril Tourneur

German Romantic and Other Influences

Cyril Tourneur (1575-1626) was an English dramatist, a contemporary of Shakespeare; Tourneur was also a soldier and politician. The Revenger’s Tragedy (1607), as its name implies, is a revenge tragedy, and comments on the battle to avenge the destruction by the giants that lead to the brothers’ deaths. Literary critics now believe that the play was written by Thomas Middleton (1580-1627).

Phantastes Chapter 24: The Honest Whore, Thomas Dekker, Thomas Middleton

German Romantic and Other Influences

Thomas Dekker (1572-1632) was a dramatist and writer of popular pamphlets describing London life. This line comes from the play The Honest Whore, Part II (1605 or 1606). The Honest Whore, Part I, a collaboration between Dekker and Thomas Middleton, was performed in 1604.

Phantastes Chapter 15: Campaspe, John Lyly

German Romantic and Other Influences

Campaspe, an Elizabethan play by John Lyly (1584). The lines quoted are from Act 3, Scene 4, and they indicate the notion of a Platonic beauty, an ideal beauty that the artist can never capture perfectly