Sobre Lo Visible Y Lo Invisible: Barcelona Y El Teatro,
2010
University of Richmond
Sobre Lo Visible Y Lo Invisible: Barcelona Y El Teatro, Sharon G. Feldman
Latin American, Latino and Iberian Studies Faculty Publications
Durante el invierno del año 2000, el director catalán Lluís Pasqual llevó a la escena del Teatre Lliure, la casa histórica de una de las compañías de repertorio más estable, consolidada y distinguida de Barcelona, una versión catalana de El jardín de los cerezos de Antón Chekov. En la obra de Chekov, Madame Ranyévskaya, emblema de la elegancia marchita y de la ya desvanecida supremacía de la aristocracia rusa, se ve obligada, por su situación de desesperanza económica, a vender su finca y su jardín de cerezos al nuevo-rico Lopatkhin y, después, a volver a París, cuando Rusia se encuentra …
The Cutting Edge, January/February 2010, Vol. 21 Issue 1,
2010
Marshall University
The Cutting Edge, January/February 2010, Vol. 21 Issue 1, The Society Of American Fight Directors
The Cutting Edge
No abstract provided.
The Fight Master, Fall/Winter 2010, Vol. 32 Issue 2,
2010
Marshall University
The Fight Master, Fall/Winter 2010, Vol. 32 Issue 2, The Society Of American Fight Directors
Fight Master Magazine
No abstract provided.
In The Wake,
2010
Linfield College
In The Wake, Lindsey Mantoan
Faculty Publications
Lindsey Mantoan reviews a performance of In the Wake (by Lisa Kron) for Theatre Journal.
Imagining The Imaginary: Finding Mr. Marmalade,
2010
Lindenwood University
Weaving Through Reality: Dance As An Active Emblem Of Fantasy In Performance Literature,
2010
Claremont McKenna College
Weaving Through Reality: Dance As An Active Emblem Of Fantasy In Performance Literature, Tara Maylyn Frankel
CMC Senior Theses
Literature uses dance to reveal underlying messages of fantasy through the themes of the central narrative of female characters. Examining the original texts with respect to their varying adaptations for film and stage, performance literature reveals how directors relate a three-dimensional story to an audience from a two-dimensional world. Hans Christian Andersen’s “The Red Shoes” shows an underlying semiotic code where transitioning from the black and white of reality to the red of fantasy is only accomplished through dancing. Oscar Wilde’s Salome displays an eroticization of the exotic solo-improvised dance that provides a semblance of control for the main character. …
0776: Elaine Novak Papers, 1956-1995,
2010
Marshall University
0776: Elaine Novak Papers, 1956-1995, Marshall University Special Collections
Guides to Manuscript Collections
This collection is composed of the papers of Elaine Novak, theatre professor at Marshall University. Included are class notes, shows notes, and personal ephemera.
Real Americans Mean Much More: Race, Ethnicity, And Authenticity In Belasco's Girl Of The Golden West And Puccini's La Fanciulla Del West,
2010
University of Richmond
Real Americans Mean Much More: Race, Ethnicity, And Authenticity In Belasco's Girl Of The Golden West And Puccini's La Fanciulla Del West, Linda B. Fairtile
University Libraries Faculty and Staff Publications
Conceived by Belasco and filtered through Puccini, the characters in La fanciulla del West exhibit a diversity that is unusual even for an opera with an exotic setting: Mexicans, Australians, and European-Americans of various backgrounds reinvent themselves in a new land of seemingly endless possibilities, while the area's native inhabitants struggle to survive. California's multi-cultural population as understood by Belasco, by his Broadway audience, and by Puccini and his operatic audience create compound layers of difference that both focus and obscure the racial and ethnic hierarchies that played out in the 1840s and 50s. This article will begin to untangle …
Dancing With Risk: Risk-Taking As A Performance Practice In Contemporary Dance,
2010
Edith Cowan University
Dancing With Risk: Risk-Taking As A Performance Practice In Contemporary Dance, Gemma Dawkins
Theses : Honours
Why is risk intentionally cultivated in contemporary dance? What purpose does it serve, for performers, choreographers and audiences? This thesis explores the ways in which risk-taking affects the meaning and significance of a dance work. It seeks to question whether the use of risk can render a dance more powerful, affecting or confronting, or whether intentional risk overshadows and, thus, detracts attention away from the aesthetic content. I also ask how being 'at risk' affects the performer. Can it engender investment and authenticity? The risks explored in this thesis include both physical and emotional or intellectual risks. I refer to …
