Arts and Humanities Commons^™

Performance Review: All That Fall For Everyone In Cleveland, Jennifer Jeffers

Jennifer M. Jeffers

No abstract provided.

Timon Of Athens: The Iconography Of False Friendship, Clifford Davidson

Clifford Davidson

The realization that iconographic tableaux appear at central points in the drama of Shakespeare no longer seems to involve a radical critical perspective. Thus a recent study is able to show convincingly that the playwright presented audiences with a Hamlet who upon his first appearance on stage illustrated what the Renaissance would certainly have recognized as the melancholic contemplative personality. As I have noted in a previous article, the hero of Macbeth when he sees the bloody dagger before him is in fact perceiving the image which most clearly denotes tragedy itself; in the emblem books, the dagger is indeed …

York Art: A Subject List Of Extant And Lost Art, Clifford Davidson, David O'Connor

Clifford Davidson

A list, classified by subject, of extant and lost art from pre-Reformation York originally compiled by Clifford Davidson and David E. O'Connor in 1978 and updated by Clifford Davidson, apparently in 2003. This digital reprint was created in 2014 for ScholarWorks at WMU.

Iconography: A Checklist Of Some Useful Sources For Scholars And Students Of Medieval Art And Drama, Clifford Davidson

Clifford Davidson

A classified bibliography of scholarship on medieval drama, art, and music compiled by Clifford Davidson in 2002. This reprint was created in 2014 for ScholarWorks at WMU, with some corrections to the content and the formatting of the 2002 version.

Trinity Rep's The Heidi Chronicles Is Smart And Charming, Andrea Tieman

Andrea Tieman

The Gamm Theatre's The Rant Is Powerful And Timely, Andrea Tieman

Andrea Tieman

Epic Theatre Titillates And Thrills With American Strippers, Andrea Tieman

Andrea Tieman

Hocus Pocus And The Croxton Play Of The Sacrament, Cameron Mcnabb

Cameron Hunt McNabb

This article addresses how heresy and parody intersect in the Croxton Play of the Sacrament through its religiously and verbally dissenting characters. The play’s highly theatrical depiction of a host miracle both enforces and undermines its emphatic endorsement of the real presence. The play ameliorates this tension by the privileging of words over deeds, aligning the transformative power of the consecratory words with the transformative power of believers’ confessions at conversion wherein both words and actions enact a transubstantiation, thus manifesting the real presence of Christ. The play’s language becomes a moral marker and the vehicle for the heretics’ dissent …

Festival Ballet’S Underwhelming Ballet Russes Reinvented, Andrea Tieman

Andrea Tieman

Wilbury Theatre Group’S Uneven Cain + Abel, Andrea Tieman

Andrea Tieman

Legend Of Zelda Symphony Of The Goddesses Thunders Into Ppac, Andrea Tieman

Andrea Tieman

Gamm Theatre Kicks Off 2015-2016 Season With A Stunning A Streetcar Named Desire, Andrea Tieman

Andrea Tieman

Wilbury Theatre Delivers Raw And Real Dry Land, Andrea Tieman

Andrea Tieman

From The “Bio” To The “Necro”: The Human At The Border, Andrés Henao Castro

Andrés Fabián Henao-Castro

This chapter puts biopolitics in conversation with decolonial theory in order to investigate the disavowed colonial history of necropolitics at the center of modernity’s continuous racialization of “Man.” It further develops Achille Mbembe’s influential notion of necropolitics by tracing its origins to the colonial principle of power: ‘make die let die,’ and by understanding this new technology of power as the de-humanization device by which the human is divided across color lines. Such de-humanization, the chapter concludes, is prominent in the global production of unauthorized immigrants as disposable people through the necropolitical dispositif of the border. This technology of power …

Head Trick Theatre’S Pastorally Pleasing As You Like It, Andrea Tieman

Andrea Tieman

Whether It’S Coins, Fringe, Or Just Stuff That’S Sparkly': Aesthetics And Utility In A Tribal Fusion Belly Dance Troupe’S Costumes, Jeana Jorgensen

Jeana Jorgensen

As both a scholar and a belly dancer, I believe that belly dance is recognizable on aesthetic grounds. In addition to the movements that belly dancers typically perform—muscle isolations, undulations, graceful hand motions and turns, and lots of hip work—belly dancers wear costumes that are visually identifiable as belly dance costumes. While this description may seem tautological, there are recognizable standards both in the public sphere and among dancers for what constitutes the belly dance image—or images, as belly dance is a diverse phenomenon that encompasses teaching, learning, performing, watching, socializing, and costuming.

Orfeo Y Eurídice: La Mirada De-Vuelta (Orpheus And Eurydice: The Re-Turning Gaze), Andrés Henao Castro

Andrés Fabián Henao-Castro

No abstract provided.

Sidesplitting And Strange Melancholy Play At Trinity Rep, Andrea Tieman

Andrea Tieman

Mercator, 691-802 In English, Version A. Neh Summer Institute: Roman Comedy In Performance., Christopher Bungard

Christopher Bungard

Dorippa has discovered that her husband Lysimachus is harboring a prostitute in their house. She wrongly thinks that it is his prostitute rather than his friend Demipho's. At the precisely the wrong time, the cook arrives who Demipho had asked Lysimachus to hire for a party. Lysimachus becomes increasingly frustrated with his friend Demipho. Filmed in Forest Theatre, on the campus of the University of North Carolina at Chapel Hill. Version 2: Performed in English. Dorippa is played assertively, and the cook unwittingly complicates Lysimachus' troubles. Translation by Sharon James with modifications by Christopher Bungard, Christine Woodworth, Dan Smith, and …

Creating A Digital Museum: A Process Overview, Christy Allen

Christy Allen

No abstract provided.

Choreographing Lived Experience: Dance, Feelings And The Storytelling Body, Karin Eli, Rosie Kay

Karin Eli

Although narrative-based research has been central to studies of illness experience, the inarticulate, sensory experiences of illness often remain obscured by exclusively verbal or textual inquiry. To foreground the body in our investigation of subjective and intersubjective aspects of eating disorders, we—a medical anthropologist and a contemporary dance choreographer—designed a collaborative project, in which we studied the experiences of women who had eating disorders, through eight weeks of integrating dance practice-based, discussion-based and interview-based research. Grounded in the participants’ own reflections on choreographing, dancing and watching others perform solos about their eating disordered experiences, our analysis examines the types of …