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English Language and Literature Commons™
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- Theatre and performance studies, including early modern theatre and performance (7)
- Canadian theatre and performance (3)
- Performance (3)
- Literature (2)
- Rape (2)
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- Urban Studies (2)
- Actor training (1)
- Blasted (1)
- Canadian theatre (1)
- Drama (1)
- Enda Walsh (1)
- England (1)
- Feminist performance (1)
- History (1)
- History of feminist approach (1)
- Iphigenia at Aulis (1)
- Pedagogy (1)
- Queer Studies (1)
- Realism (1)
- Representation of hysteria (1)
- Research on Teaching and Learning (1)
- Risk (1)
- Sacrifice (1)
- Social activism (1)
- Stage realism (1)
- Stratford Shakespeare Festival (1)
- Terrorism (1)
- Theatre (1)
- Theories of realism (1)
- Toronto (1)
Articles 1 - 9 of 9
Full-Text Articles in English Language and Literature
Realism/Terrorism: The Walworth Farce, Kim Solga
Realism/Terrorism: The Walworth Farce, Kim Solga
Kim Solga
Can theatre kill? If it can, where does that leave its scholars, students, practitioners? What are the ethics of performance when performance becomes truly dangerous?
The Activist Classroom: Performance And Pedagogy, Kim Solga
The Activist Classroom: Performance And Pedagogy, Kim Solga
Kim Solga
As teachers of theatre history, theory, and performance theory and practice we engage in crucial public work: the training of future audiences. Our labour, every day, is social activism, whether we call it that or not. The latest issue of Canadian Theatre Review celebrates this work, and explores its challenges from multiple perspectives. It includes contributions from performers, public arts workers, students, and scholars who work in theatre for education, performance studies, English literature, and more. The issue also features a forum on pedagogical innovation in the theatre studies classroom, as well as five short scripts developed by students at …
Realism And The Ethics Of Risk At The Stratford Shakespeare Festival, Kim Solga
Realism And The Ethics Of Risk At The Stratford Shakespeare Festival, Kim Solga
Kim Solga
The Stratford Shakespeare Festival is notoriously risk-averse, creating quality "classical" theatre without rocking any audience worlds. Or is it? This paper re-examines the history of "risk" at Stratford and explores two key productions directed by Peter Hinton at the Festival. I conclude that, perhaps, risk-taking directors and a "conservative" acting company serve the work very well indeed.
Building Utopia: Performance And The Fantasy Of Urban Renewal In Contemporary Toronto, Laura Levin, Kim Solga
Building Utopia: Performance And The Fantasy Of Urban Renewal In Contemporary Toronto, Laura Levin, Kim Solga
Kim Solga
Toronto markets itself as a city in renewal, a “creative city” of the future full of arts and culture. Alongside the official pitch, a number of street-level underground initiatives reimagine Toronto's utopic future in a different way by means of site-specific performances. But do these grassroots performance schemes necessarily create a more inclusive, more equitable city?
Dress Suits To Hire And The Landscape Of Queer Urbanity, Kim Solga
Dress Suits To Hire And The Landscape Of Queer Urbanity, Kim Solga
Kim Solga
As the story goes, the only good queer is an urban queer. But does the LGBTQ population of America really want to cede all that wide open space to straight-laced (and often violent) ideologies? The work of Peggy Shaw and Lois Weaver has consistently challenged the perceived boundaries of lesbian experience; in this paper, I theorize the queer geography of their OBIE-winning hit, Dress Suits to Hire, via its 2005 anniversary revival in Austin, Texas.
Body Doubles, Babel's Voices: Katie Mitchell's Iphigenia At Aulis And The Theatre Of Sacrifice, Kim Solga
Body Doubles, Babel's Voices: Katie Mitchell's Iphigenia At Aulis And The Theatre Of Sacrifice, Kim Solga
Kim Solga
What happens to a body when circumstance demands it enact its own forgetting? What reaction in turn does a body in the process of violent self-erasure prompt in its spectators? These and related questions propel my investigation of Katie Mitchell's 2004 National Theatre production of Euripedes' Iphigenia at Aulis. Mitchell's chilling representation of Iphigenia's final moments, during which the young girl speaks with apparently patriotic fervour her willingness to be murdered for her nation's sake, embeds the very loss that such a performance of sacrifice typically elides. The result: two bodies collide on stage before our eyes - the compliant, …
The Line, The Crack, And The Possibility Of Architecture: Figure, Ground, Feminist Performance, Kim Solga
The Line, The Crack, And The Possibility Of Architecture: Figure, Ground, Feminist Performance, Kim Solga
Kim Solga
How and where do architecture and performance collide? Theatre studies has been, over the course of the last decade, increasingly interested in the relationship between stage and space; that inter- est, however, has primarily been figured by marrying theories of human geography with studies of theatrical performance. “The Line, the Crack, and the Possibility of Architecture” asks what it might mean to explore the spaces of performance through the lens of another plastic art—the art of building—and investigates what the discourses of architecture theory, both classical and (post)modern, might have to say to those of us who study the vicissitudes …
Blasted’S Hysteria: Rape, Realism, And The Thresholds Of The Visible, Kim Solga
Blasted’S Hysteria: Rape, Realism, And The Thresholds Of The Visible, Kim Solga
Kim Solga
A curious blind spot remains in the critical response to Sarah Kane’s Blasted: the rape of Cate by Ian. In a play famous for its onstage violence, why is this rape, one of its pivotal moments of brutality, left unstaged? This article investigates this gap by exploring the theoretical and historical dimensions of the ‘‘missing’’ in Kane’s play. I argue that Kane’s representation of Cate’s rape as missing signals both her engagement with the history of rape’s representation – an elusive, evasive history rather than an outrageous, in-yer-face one – as well as a deft understanding of how the ‘‘missing’’ …
Rape’S Metatheatrical Return: Rehearsing Sexual Violence Among The Early Moderns, Kim Solga
Rape’S Metatheatrical Return: Rehearsing Sexual Violence Among The Early Moderns, Kim Solga
Kim Solga
What happens when theatre crosses the line, risks danger in the real? This paper explores the pernicious theatricalization of sexual violence in early modern England, its trouble-making uptake in Shakespeare's Titus Andronicus, and Julie Taymor's contemporary response in her 1999 film version of the play. Along the way the article probes a handful of questions about theatre's social efficacy: what are the consequences of understanding theatre as a potentially malevolent form of public art and expression? How do we account for those moments when theatre poses genuine risk? And, more importantly, how do we build a response to, an ethics …