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2013

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Articles 1 - 16 of 16

Full-Text Articles in Dramatic Literature, Criticism and Theory

Josep M. Benet I Jornet I L'Herència De «Desig», Sharon G. Feldman Dec 2013

Josep M. Benet I Jornet I L'Herència De «Desig», Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Corria l'any 1988. El muntatge d'Ai carai! de Josep M. Benet i Jomet acabava de fer temporada amb èxit al Teatre Uiure. Domènec Reixach havia assumit el càrrec de director artístic del Centre Dramàtic de la Generalitat de Catalunya i, des de la seva històrica seu al Teatre Romea, va crear un programa d'ajuts amb la intenció d'estimular i impulsar les naves dramatúrgies catalanes. No va sobtar, doncs, que Reixach convidés Benet i Jornet a participar-hi. Les circumstàncies, però, van agafar un caire una mica sorprenent quan Reixach va demanar al ja consolidat dramaturg català que seleccionés un director perquè …

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Summer Of Shrew, Part 4: Which End’S Up?, Daniel Pollack-Pelzner Jul 2013

Summer Of Shrew, Part 4: Which End’S Up?, Daniel Pollack-Pelzner

Faculty Publications

In the last of a four-part series on Shakespeare's The Taming of the Shrew, Daniel Pollack-Pelzner explores how expanding the range of the titular Shrew to include male characters is actually a return to its original meaning. Pollack-Pelzner focuses on a long-forgotten Renaissance sequel to Shrew (John Fletcher's The Tamer Tamed) that takes the taming of men even further and turns its gender roles upside down.

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Summer Of Shrew, Part 3: A Sly Conceit, Daniel Pollack-Pelzner Jul 2013

Summer Of Shrew, Part 3: A Sly Conceit, Daniel Pollack-Pelzner

Faculty Publications

In the third of a four-part series on Shakespeare's The Taming of the Shrew, Daniel Pollack-Pelzner asks, what if Kate’s story isn’t the play’s only reality? Pollack-Pelzner explores how a drunken beggar and an earlier version of the script shift the brawling balances of the play and call into question who the real shrew is.

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Summer Of Shrew, Part 2: Tamed? Really?, Daniel Pollack-Pelzner Jul 2013

Summer Of Shrew, Part 2: Tamed? Really?, Daniel Pollack-Pelzner

Faculty Publications

In the second of a four-part series on Shakespeare's The Taming of the Shrew, Daniel Pollack-Pelzner argues that Shakespeare’s play raises challenging questions about the way we define gender roles, and the answers aren’t as obvious as they might seem.

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Summer Of Shrew, Part 1: A Tale Of Two Cities, Daniel Pollack-Pelzner Jul 2013

Summer Of Shrew, Part 1: A Tale Of Two Cities, Daniel Pollack-Pelzner

Faculty Publications

In the first of a four-part series on Shakespeare's The Taming of the Shrew, Daniel Pollack-Pelzner introduces two high-concept professional productions of the play — one in Ashland, Oregon at the Oregon Shakespeare Festival, and one in Portland, Oregon at the Portland Shakespeare Project.

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A Shrew By Any Other Name: Balancing Female Power And Performance In Shakespeare's Taming Of The Shrew And Fletcher's The Tamer Tamed, Kate Mcmullan, Kyra Rickards Jul 2013

A Shrew By Any Other Name: Balancing Female Power And Performance In Shakespeare's Taming Of The Shrew And Fletcher's The Tamer Tamed, Kate Mcmullan, Kyra Rickards

2013 Projects

The Keck Summer Collaborative Research Program provides opportunities for Linfield College students and faculty to conduct research on issues related to the Pacific Northwest, and to bring the research findings back into the classroom within the subsequent academic year. Students partner with faculty to conduct research and present their work to other students, Linfield staff and faculty, and community members during a series of brown bag lunches. Kate McMullan and Kyra Rickards conducted research with Daniel Pollack-Pelzner and gave this presentation during the summer of 2013.

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Renaissance Drama And Magic: Humanism And Hermeticism In Early Modern England, Caitlin A. Larracey May 2013

Renaissance Drama And Magic: Humanism And Hermeticism In Early Modern England, Caitlin A. Larracey

Honors Program Theses and Projects

With deals made with the devil, the promise of base metals turned into gold, and charms cast over beasts, humans, and spirits, magic has a profound role in the drama of Early Modern England. Even more than magic, be it black or white, the magus repeatedly takes center stage in front of Elizabethan and Jacobean audiences. There exists a fascination in the period with unnatural or supernatural powers, especially in light of the reputations of figures such as the physician-magicians John Dee and Simon Forman, and even King James I. Yet the magic and magician that emerge in principal plays …

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Women As Victims In Tennessee Williams' First Three Major Plays, Ruth Foley May 2013

Women As Victims In Tennessee Williams' First Three Major Plays, Ruth Foley

Masters Theses

Although Tennessee Williams does not openly champion the rights of women in his plays, he presents strong cases against their social alienation in a harsh and brutal world governed by men. Williams' emotional leanings, sensitivity, and intuition enable him to see life through women's eyes. In The Glass Menagerie, A Streetcar Named Desire, and Summer and Smoke, Williams astutely sounds the battle cry for women to fight against male oppression. He shows how Amanda Wingfield, Laura Wingfield, Blanche Dubois, Stella Kowalski, and Alma Winemiller are held hostage to the rules governing patriarchal society and become unhappy marginalized victims. The self-contained …

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Hangin' With Judas: A Narrative Analysis Of Stephen Adly Guirgis's 'The Last Days Of Judas Iscariot', Constance Falconer Apr 2013

Hangin' With Judas: A Narrative Analysis Of Stephen Adly Guirgis's 'The Last Days Of Judas Iscariot', Constance Falconer

Masters Theses

Stephen Adly Guirgis has created an era-melting play, The Last Days of Judas Iscariot, which explores the timeless debate between divine mercy and free will. A systematic application of Walter R. Fisher's narrative analysis, through form identification and a functional analysis, determined how Guirgis accomplishes persuasion. This qualitative study focused on Guirgis's narrative, using Walter R. Fisher's narrative paradigm as a framework to answer the research question(s): (1) If Guirgis's ideology and created world in The Last Days of Judas Iscariot are foreign and imagined, how is narrative probability and narrative fidelity achieved?; and, (2) How does Guirgis persuade his …

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Evolving Stages: Duty And Fate In The Construction Of Tibetan Tradition, Divya Chandramouli Apr 2013

Evolving Stages: Duty And Fate In The Construction Of Tibetan Tradition, Divya Chandramouli

Independent Study Project (ISP) Collection

In this paper, I discuss themes of preservation, adaptation, and the construction of tradition in the context of Tibetan performing arts. I chose to explore these issues by looking specifically at a play composed by His Holiness the current Karmapa, based on the life of Milarepa, one of the most revered yogis of Tibetan Buddhism. This play is unique in the sense that many of its aspects stem directly from traditional Tibetan opera, or lhamo, yet the ways in which it was presented and the reasons why it was presented this way diverge considerably from “tradition.” I conducted my research …

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Fearless: Ratco, Center For Public Service Mar 2013

Fearless: Ratco, Center For Public Service

SURGE

If you haven’t noticed yet, we’ve had some really spectacular visitors from the south with us on Gettysburg’s campus the last few days! The Random Acts of Theater Company (RATCo) is a group that emerged from the Freedom Foundation in Denver, Colorado a few years ago. Their initiative involved using theater as a means for self-expression and communication, but RATCo spread because it was so successful and ultimately reached Selma, Alabama. Selma, although a major site for the Civil Rights movement, and also the site for the last battle of the civil war, has changed very little since the 1960s. …

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Bibliography For Work In Digital Humanities And (Inter)Mediality Studies, Steven Tötösy De Zepetnek Mar 2013

Bibliography For Work In Digital Humanities And (Inter)Mediality Studies, Steven Tötösy De Zepetnek

CLCWeb Library

No abstract provided.

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Wheeler, Beatrice Irene (Isenberg), 1915-2004 (Sc 867), Manuscripts & Folklife Archives Feb 2013

Wheeler, Beatrice Irene (Isenberg), 1915-2004 (Sc 867), Manuscripts & Folklife Archives

MSS Finding Aids

Finding aid only for Manuscripts Small Collection 867. Two skits by Beatrice Irene (Isenberg) Wheeler, written in 1988 and 1989, based on her childhood experiences in Northtown, a very small Hart County, Kentucky community. Written for a presentation at College Street Church of Christ in Lebanon, Tennessee. One play describes a country school and the other documents a worship service.

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Sheridan's Promising Tale Is Half Told, Ian Kilroy Jan 2013

Sheridan's Promising Tale Is Half Told, Ian Kilroy

Articles

Review of 'Break a Leg', the memoir by Irish theatre artist Peter Sheridan. First published in the Sunday Business Post Magazine.

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Acting, Integrity, And Gender In Coriolanus, Kent Lehnhof Jan 2013

Acting, Integrity, And Gender In Coriolanus, Kent Lehnhof

English Faculty Articles and Research

Shakespeare's Coriolanus... anticipates and corroborates modern-day analyses emphasizing the sociopolitical dimensions and determinants of antitheatrical discourse. In the present essay, I would like to shift my focus from questions of class/status to questions of sex/gender, endeavoring to trace the links between Coriolanus’s antiperformative zeal and his ultra-masculine identity. For though it is true that Coriolanus opposes the dissimulation of others on political grounds (i.e., it creates social confusion), what causes him to reject play-acting in his own person is the sexualized fear that it will unman him (i.e., turn him into a squeaking virgin or crying boy). In this manner, …

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‘An Isle Full Of Noises’: The Perception & Influence Of Sound In Shakespeare’S The Tempest, Paul A. Di Salvo Jan 2013

‘An Isle Full Of Noises’: The Perception & Influence Of Sound In Shakespeare’S The Tempest, Paul A. Di Salvo

Student Publications

Since the play’s authorship in 1610, actor-managers and directors alike have struggled over staging the opening scene of William Shakespeare’s The Tempest. The physical presence of the ship, the sounds and lighting effects of thunder and lightning, the dialogue of the actors, and the use of music have varied from the early 17th century to the present in an effort to appeal to the audience. The presentation of these elements, especially sound cues and music, prepares audiences to understand the dynamics of Prospero’s powers and transformation as a character. Depending on how sound and stage technologies were implemented …

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