Theatre and Performance Studies Commons^™

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

Graduate Theses/Dissertations

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 …

From Meyerhold And Blue Blouse To Mcgrath And 7:84: Political Theatre In Russia And Scotland, Rania Karoula

Studies in Scottish Literature

Discusses the 1920s Russian political theatre movement Blue Blouse, as seen in 1926 by the American Hallie Flanagan (later director of the Federal Theatre Project), the Scottish radical theatre group 7:84, the Scottish company's successful Russian tour in 1982, and parallels between the two in approach and staging as analysed by 7:84's John McGrath.

A Christmas Carol (November 29-30, December 1, 2018), Charles Dickens

Student Theatre Programs

Program for A Christmas Carol.

To view the photos from this production of A Christmas Carol, please click here.

Copenhagen (2018), Michael Frayn

Season 2018-2019

No abstract provided.

Vinegar Tom

Theatre Programs

No abstract provided.

Dance 2018: Gloriously Grimm, Otterbein University Theatre And Dance Department

2018-2019 Season

No abstract provided.

Review Of Charlotte Lennox: An Independent Mind By Susan Carlile, Alexis Mcquigge

ABO: Interactive Journal for Women in the Arts, 1640–1830

This article reviews Susan Carlile's recent biography of Charlotte Lennox, Charlotte Lennox: An Independent Mind. Because much of Lennox's life story, and many of her works, remain mysterious to contemporary readers, Carlile's work highlights some unique and important aspects of the life of a - at least in the eighteenth- and nineteenth-centuries, a celebrated literary minds. Carlile's work is an important and necessary addition to the study of women's writing in the period, and contributes a great deal to those studying the works of Charlotte Lennox.

Review Of Royal Shakespeare Company Production Of Mary Pix’S The Beau Defeated, Retitled The Fantastic Follies Of Mrs. Rich, Aparna Gollapudi

ABO: Interactive Journal for Women in the Arts, 1640–1830

Jo Davies’s reprise of Mary Pix’s comedy The Beau Defeated, Or The Lucky Younger Brother,performed by the Royal Shakespeare Company at Swan Theatre in Stratford-upon-Avon under the title The Fantastic Follies of Mrs. Rich refocuses the comedy from its original engagement with primogeniture and middling class masculinity towards the female characters. It also diffuses Pix’s Whiggish moralism in Mrs. Rich's portrayal, highlighting instead her energy and verve. Overall, a very successful production, the performance is more Restoration comedy than the transitional work that Pix's play was when it opened in 1700.

Editing Aphra Behn In The Digital Age: An Interview With Gillian Wright And Alan Hogarth, Laura Runge, Gillian Wright, Alan Hogarth

ABO: Interactive Journal for Women in the Arts, 1640–1830

This interview provides a view of the work in progress for the Cambridge University Press edition of the Complete Works of Aphra Behn. Gillian Wright serves as a general editor (with Elaine Hobby, Claire Bowditch, and Mel Evans) as well as the volume editor for Behn’s poetry. Alan Hogarth is the Postdoctoral Research Associate working with Mel Evans on the computational stylistics and author attribution testing. The discussion focuses on the scope and principles of editing the poetry of Aphra Behn, the role of stylometry in establishing the corpus, the status of work, a few particular poems, and some surprises.

Reading Her Queenly Coiffure: A Collaborative Approach To The Study Of Marie-Antoinette's Hairstyles, Hélène Bilis, Jenifer Bartle, Laura M. O'Brien, Ruth R. Rogers

ABO: Interactive Journal for Women in the Arts, 1640–1830

Four colleagues--a faculty member, a digital services librarian, a research librarian, and a curator of Special Collections--take turns describing their role in creating an undergraduate student project around an eighteenth-century almanac that belonged to Marie-Antoinette. In recounting the steps taken, the collaborative process, the student research, and the analysis of the contents of the Trésor des Grâces almanac, we share the lessons learned for completing a digital exhibit over the course of one semester.

New Lines: Mary Ann Yates, The Orphan Of China, And The New She-Tragedy, Elaine Mcgirr

ABO: Interactive Journal for Women in the Arts, 1640–1830

This essay demonstrates a significant break in eighteenth-century tragedy from tales of fallen women begging (the audience) for forgiveness and redemption to a different kind of she-tragedy, in which the heroine is neither fallen nor sexually desired, but rather transcends nation and politics with the “natural” moral force of maternal love. I argue that this shift was made possible/legible by Susannah Cibber’s ill-health, which forced Arthur Murphy to reconceive The Orphan of China’s heroine and allowed a rival actress, Mary Ann Yates, to step into this new role and to establish a tragic ‘line’ defined in opposition to that of …

Dialogues On Voluntary Action And New Commons, Roger A. Lohmann

Faculty & Staff Scholarship

This volume contains a suite of seven one-act plays originating in political and civic themes, voluntary action and new commons, and associated with the 2012 President election.

The Hidden History Of 'Oklahoma!', Daniel Pollack-Pelzner

Faculty Publications

Daniel Pollack-Pelzner explains that contemporary reinterpretations of the classic American musical Oklahoma! may be getting back to its root: it's based on a play by a gay Cherokee man.

Nuevaz Voces: Northeastern's 10-Minute Playwriting Festival, Sarah J. Fabian, Jim Blair, Becca Peterson

Faculty Research and Creative Activities Symposium

No abstract provided.

Redefining Hope: Theatre For Young Audiences And The Battle For Visibility, Adam Goldstein

Faculty Research and Creative Activities Symposium

No abstract provided.

Classic Theater For A Modern Audience: Producing Antigone At Neiu, John J. Bliss

Faculty Research and Creative Activities Symposium

No abstract provided.

Blackfriars Dance Concert 2018 Flyer, Department Of Theatre, Dance & Film

Playbill and Promotion

Providence College Department of Theatre, Dance & Film

Angell Blackfriars Theatre

Blackfriars Dance Concert 2018

November 16, 2018, 7:30 pm

November 17, 2018, 2:00pm

Blackfriars Dance Concert 2018 Playbill, Providence College

Playbill and Promotion

Directed by Wendy Oliver

Choreographers

Melody Gamba
Ann Ditmars Huyck
Wendy Oliver
Jessica Pearson
Jenna Pollack
Marcus Schulkind
Jessie Jeanne Stinnett

Costume Coordinator Maxine Wheelock

Lighting Designer Marc Tiberiis II

Angell Blackfriars Theatre
November 16th - 7:30pm
November 17th - 2:00pm

Blackfriars Dance Concert 2018 Poster, Providence College

Playbill and Promotion

Blackfriars Dance Concert 2018

Angell Blackfriars Theatre

November 16 & 17

Cut The Sky, Office Of Arts + Cultural Programming, Peak Performances At Montclair State University

2018-2019 Borders and Boundaries

Is it a rock concert? Modern dance? A plea for environmental action and the rights of Indigenous peoples? Cut the Sky by Marrugeku, Australia’s preeminent dance theater ensemble of Indigenous and non-Indigenous artists, is all three. As soul singer Ngaire belts out tunes ranging from Nick Cave to Buffalo Springfield Australian “post-soul” music, Marrugeku’s “incredibly expressive and visceral” dancers (The Guardian) form a band of climate change refugees struggling to survive another extreme weather event. Moving backward and forward in time, Cut the Sky meditates on humanity’s frailty in the face of its own actions.