Open Access. Powered by Scholars. Published by Universities.®
- Discipline
-
- Dramatic Literature, Criticism and Theory (4)
- Performance Studies (3)
- Feminist, Gender, and Sexuality Studies (2)
- Lesbian, Gay, Bisexual, and Transgender Studies (2)
- Playwriting (2)
-
- Advertising and Promotion Management (1)
- Anthropology (1)
- Art and Design (1)
- Art and Materials Conservation (1)
- Business (1)
- Celtic Studies (1)
- Fine Arts (1)
- History (1)
- Latin American History (1)
- Other Theatre and Performance Studies (1)
- Political History (1)
- Russian Literature (1)
- Slavic Languages and Societies (1)
- Social and Behavioral Sciences (1)
- Keyword
-
- Theatre (2)
- A Patriot for Me (1)
- Anarchism (1)
- Atheism (1)
- Brazil (1)
-
- Christianity (1)
- Cleansed (1)
- Comedy (1)
- David Savran (1)
- Deirdre (Legendary character) (1)
- George William Russell (1)
- God (1)
- Historiography (1)
- Homosexual (1)
- Imaginary Invalid (1)
- Ireland (1)
- John Osborne (1)
- Living Theatre (1)
- Louisiana Purchase Exposition (1904 : Saint Louis (1)
- Masculine politics (1)
- Mikhail kuzmin (1)
- Mo.) (1)
- Molière (1)
- Performance (1)
- Play (1)
- Queer theatre (1)
- Religious Studies (1)
- Russian theatre (1)
- Sarah Kane (1)
- Theatre Studies (1)
- Publication
Articles 1 - 6 of 6
Full-Text Articles in Theatre History
Embodied Performance As Queer Theatre Historiography: Translation, Gender, Identity, And Temporalities In Mikhail Kuzmin's The Dangerous Precaution, Keenan Shionalyn
Embodied Performance As Queer Theatre Historiography: Translation, Gender, Identity, And Temporalities In Mikhail Kuzmin's The Dangerous Precaution, Keenan Shionalyn
All Master's Theses
The “World of Art” and “The Tower,” two groups of symbolist artists in St. Petersburg at the turn of the 20th century, are often noted for their contributions to queer art in poetry, literature, and the visual arts. However, the theatrical record has yet to acknowledge the significant contributions by these groups, largely ignoring their queer dramatic writings. Mikhail Kuzmin, a notable contributor in both groups of symbolists, is recognized for having contributed music to Meyerhold and Blok’s The Puppet Show but is less known for his multitude of plays. Seeking to remedy this problem, I examine one of …
Sarah Kane's Post-Christian Spirituality In Cleansed, Elba Sanchez
Sarah Kane's Post-Christian Spirituality In Cleansed, Elba Sanchez
All Master's Theses
The existing scholarship on the work of British playwright Sarah Kane mostly focuses on exploring the use of extreme acts of violence in her plays. However, few scholars like Dr. Graham Saunders and Anabelle Singer can trace it back to the rejection of her Christian beliefs during her adolescence. This thesis explores how Kane used violence and images of impalement, dismemberment, and cross-dressing in her third play, Cleansed as a vehicle to examine and validate her notions of gender and sexuality as well as her developing post-Christian spirituality. Through the critical textual analysis of Cleansed in conjunction with scholarly literature …
Direction Of The Imaginary Invalid By Molière Translated By Charles Heron Wall Adapted By Kimberly Dorman, Kimberly S. Dorman
Direction Of The Imaginary Invalid By Molière Translated By Charles Heron Wall Adapted By Kimberly Dorman, Kimberly S. Dorman
All Graduate Projects
This project comprises of the selection, research, casting, adaptation, production and post-production process of The Imaginary Invalid. Documentation and research include adaptation, analysis of the play as a production vehicle for our program, research, script analysis, outcome goals, a record of the production period, and a postproduction evaluation.
A Patriot For Men: The Politics Of Masculinity In John Osborne's "A Patriot For Me", Joshua Kelly
A Patriot For Men: The Politics Of Masculinity In John Osborne's "A Patriot For Me", Joshua Kelly
All Master's Theses
By applying David Savran’s scholarship on the politics of masculinity to John Osborne’s play A Patriot for Me (1965), I demonstrate that Osborne exemplified contradictory sexual politics in the play, and was criticized as homophobic and praised as revolutionary in similarly contradictory original reviews. I argue that play very much typifies the heteronormative politics of masculinity by placing a dominant homosexual (Redl) as protagonist, and inverts the positions of the period woman and the staged effeminate man. Redl is historically represented as a heroic homosexual, but is actually a heteronormative object. I provide evidence for this interpretation by employing Savran …
Blarney In St. Louie: Performing Irishness At The Louisiana Purchase Exposition, 1904, Cassandra L. White
Blarney In St. Louie: Performing Irishness At The Louisiana Purchase Exposition, 1904, Cassandra L. White
All Master's Theses
The dynamics of power between the privileged and those who must be subordinate to them was glaringly apparent at the 1904 Louisiana Purchase Exposition in St. Louis. While natives from many countries were displayed in ethnographic villages, the Irish were represented in the Irish Industrial Exposition concession on the Pike. A group of ninety performers came from Ireland to show their skills this concession; among these were a troupe of actors from Dublin. The Dublin troupe was engaged to perform AE’s Deirdre, but left before they had been at the exposition for a month because they felt that the Irish …
Anarchist Strategy And Visual Rhetoric In Brazil, 1970: The Living Theatre As “The People In The Street”, Chelsea R. Roberts
Anarchist Strategy And Visual Rhetoric In Brazil, 1970: The Living Theatre As “The People In The Street”, Chelsea R. Roberts
All Master's Theses
The dominant narrative of the Living Theatre, an anarchist-pacifist, activist performance group, situates the company within a historical framework of the "New Left". Implications of this strategy are identified and critiqued. Both due to the simplification of historical time periods between the fields of theatre and politics, or "periodization" (Postlewait), and because of the ways in which the "New Left" is identified as overtly American in much theatre scholarship, historicizing the Living Theatre as "in-line" with the New Left has resulted in the erasure of the Living Theatre's founding philosophies of anarchism and pacifism. The visual implications of these findings …