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Full-Text Articles in Arts and Humanities
Playing The Changeling Architecturally, Kim Solga
Playing The Changeling Architecturally, Kim Solga
Kim Solga
Performing Environments is an original and important collection examining site specificity in a diverse range of medieval and early modern performance cultures. The chapters take up theories of site specificity more commonly deployed in the study of contemporary work in order to raise new questions and suggest innovative approaches to the study of performance in the historical past. The book provides an introduction to site specific theories as well as a review of the recent 'geographical turn' in medieval and early modern scholarship that frames the studies for both novice and expert readers. Individual chapters explore both theatrical performances and …
Meet Me At The Border: Theatre Replacement’S Bioboxes, Kim Solga
Meet Me At The Border: Theatre Replacement’S Bioboxes, Kim Solga
Kim Solga
Contributors assess the deployments of various emotional registers in theatrical performance and explore how and where the “affective turn” in contemporary humanities scholarship affects theatre studies in Canada.
’Tis Pity She’S A Realist: A Conversational Case Study In Realism And Early Modern Theater Today, Kim Solga, Roberta Barker, Cary Mazer
’Tis Pity She’S A Realist: A Conversational Case Study In Realism And Early Modern Theater Today, Kim Solga, Roberta Barker, Cary Mazer
Kim Solga
No abstract provided.
Early Modern Drama And Realist Performance On The Contemporary Stage, Kim Solga, Roberta Barker
Early Modern Drama And Realist Performance On The Contemporary Stage, Kim Solga, Roberta Barker
Kim Solga
No abstract provided.
Performing Survival In The Global City: Theatre Isôko’S The Monument”, Kim Solga, Jennifer Capraru
Performing Survival In The Global City: Theatre Isôko’S The Monument”, Kim Solga, Jennifer Capraru
Kim Solga
No abstract provided.
Neoliberal Pleasure, Global Responsibility, And The South Sudan Cymbeline, Kim Solga
Neoliberal Pleasure, Global Responsibility, And The South Sudan Cymbeline, Kim Solga
Kim Solga
Tackling vital issues of politics, identity and experience in performance, this book asks what Shakespeare's plays mean when extended beyond the English language. From April to June 2012 the Globe to Globe Festival offered the unprecedented opportunity to see all of Shakespeare's plays performed in many different world languages. Thirty-eight productions from around the globe were presented in six weeks as part of the World Shakespeare Festival, which formed a cornerstone of the Cultural Olympics. This book provides the only complete critical record of that event, drawing together an internationally renowned group of scholars of Shakespeare and world theatre with …
Feminist Realism In Canada: Then And Now, Kim Solga, Susan Bennett
Feminist Realism In Canada: Then And Now, Kim Solga, Susan Bennett
Kim Solga
No abstract provided.
New Canadian Realisms: New Essays On Canadian Theatre Vol. 2, Kim Solga, Roberta Barker
New Canadian Realisms: New Essays On Canadian Theatre Vol. 2, Kim Solga, Roberta Barker
Kim Solga
New Essays in Canadian Theatre Volume 2: New Canadian Realisms gathers writing by celebrated scholars and artists from both Canada and the US in order to explore what this much-debated genre might be doing for political performance in Canada today. Topics range from Hollywood’s influence on the look and feel of the contemporary Canadian “real,” to the power and the pitfalls of a “realism of redress” in intercultural Canadian theatre, to the apparently oxymoronic notion of “devised” realism, to the complexities of Indigenous realism(s). Together, this book’s authors suggest that Canada’s theatrical realisms are, like so much else among us, …
New Canadian Realisms: Eight Plays, Kim Solga, Roberta Barker
New Canadian Realisms: Eight Plays, Kim Solga, Roberta Barker
Kim Solga
New Canadian Realisms: Eight Plays collects works of contemporary theatre, each of which may be defined as “realist” through both a crucial link to the past and a zest for re-tooling old definitions. Grounded by Gwen Pharis Ringwood’s pioneering Still Stands the House, the anthology also features trey anthony’s ’da Kink in my hair, Tara Beagan’s Miss Julie: Sheh’mah, Madeleine Blais-Dahlem’s sTain, Hillar Liitoja’s The Last Supper, selections from the Impromptu Splendor series by National Theatre of the World, Theatre Replacement’s BioBoxes, and Zuppa Theatre’s Penny Dreadful, as well as a series of text-specific introductions and a resource page for …
Introduction: Reclaiming Canadian Realisms, Part 2, Kim Solga, Roberta Barker
Introduction: Reclaiming Canadian Realisms, Part 2, Kim Solga, Roberta Barker
Kim Solga
No abstract provided.
Introduction: Reclaiming Canadian Realisms, Kim Solga, Roberta Barker
Introduction: Reclaiming Canadian Realisms, Kim Solga, Roberta Barker
Kim Solga
No abstract provided.
Realism/Terrorism: The Walworth Farce, Kim Solga
Realism/Terrorism: The Walworth Farce, Kim Solga
Kim Solga
Can theatre kill? If it can, where does that leave its scholars, students, practitioners? What are the ethics of performance when performance becomes truly dangerous?
Realism And The Ethics Of Risk At The Stratford Shakespeare Festival, Kim Solga
Realism And The Ethics Of Risk At The Stratford Shakespeare Festival, Kim Solga
Kim Solga
The Stratford Shakespeare Festival is notoriously risk-averse, creating quality "classical" theatre without rocking any audience worlds. Or is it? This paper re-examines the history of "risk" at Stratford and explores two key productions directed by Peter Hinton at the Festival. I conclude that, perhaps, risk-taking directors and a "conservative" acting company serve the work very well indeed.
Performance And The City, Kim Solga, D.J. Hopkins, Shelley Orr
Performance And The City, Kim Solga, D.J. Hopkins, Shelley Orr
Kim Solga
Urban Studies has long understood the city as a 'text'. What would it mean now to rethink that metaphor? In answer to that question, Performance and the City, now in paperback and with a new preface by Susan Bennett, imagines civic spaces built on, and through, theatre and performance of all kinds. Featuring essays by Marla Carlson, Jen Harvie, D.J. Hopkins and Shelley Orr, Ric Knowles, Laura Levin, Michael McKinnie, Rebecca Rugg, Rebecca Schneider, Marlis Schweitzer, Kim Solga, Joanne Tompkins, and Klaus van den Berg, as well as an Afterword by Barbara Hodgdon, Performance and the City explores an interdisciplinary …
Dress Suits To Hire And The Landscape Of Queer Urbanity, Kim Solga
Dress Suits To Hire And The Landscape Of Queer Urbanity, Kim Solga
Kim Solga
As the story goes, the only good queer is an urban queer. But does the LGBTQ population of America really want to cede all that wide open space to straight-laced (and often violent) ideologies? The work of Peggy Shaw and Lois Weaver has consistently challenged the perceived boundaries of lesbian experience; in this paper, I theorize the queer geography of their OBIE-winning hit, Dress Suits to Hire, via its 2005 anniversary revival in Austin, Texas.
Body Doubles, Babel's Voices: Katie Mitchell's Iphigenia At Aulis And The Theatre Of Sacrifice, Kim Solga
Body Doubles, Babel's Voices: Katie Mitchell's Iphigenia At Aulis And The Theatre Of Sacrifice, Kim Solga
Kim Solga
What happens to a body when circumstance demands it enact its own forgetting? What reaction in turn does a body in the process of violent self-erasure prompt in its spectators? These and related questions propel my investigation of Katie Mitchell's 2004 National Theatre production of Euripedes' Iphigenia at Aulis. Mitchell's chilling representation of Iphigenia's final moments, during which the young girl speaks with apparently patriotic fervour her willingness to be murdered for her nation's sake, embeds the very loss that such a performance of sacrifice typically elides. The result: two bodies collide on stage before our eyes - the compliant, …
The Line, The Crack, And The Possibility Of Architecture: Figure, Ground, Feminist Performance, Kim Solga
The Line, The Crack, And The Possibility Of Architecture: Figure, Ground, Feminist Performance, Kim Solga
Kim Solga
How and where do architecture and performance collide? Theatre studies has been, over the course of the last decade, increasingly interested in the relationship between stage and space; that inter- est, however, has primarily been figured by marrying theories of human geography with studies of theatrical performance. “The Line, the Crack, and the Possibility of Architecture” asks what it might mean to explore the spaces of performance through the lens of another plastic art—the art of building—and investigates what the discourses of architecture theory, both classical and (post)modern, might have to say to those of us who study the vicissitudes …
Blasted’S Hysteria: Rape, Realism, And The Thresholds Of The Visible, Kim Solga
Blasted’S Hysteria: Rape, Realism, And The Thresholds Of The Visible, Kim Solga
Kim Solga
A curious blind spot remains in the critical response to Sarah Kane’s Blasted: the rape of Cate by Ian. In a play famous for its onstage violence, why is this rape, one of its pivotal moments of brutality, left unstaged? This article investigates this gap by exploring the theoretical and historical dimensions of the ‘‘missing’’ in Kane’s play. I argue that Kane’s representation of Cate’s rape as missing signals both her engagement with the history of rape’s representation – an elusive, evasive history rather than an outrageous, in-yer-face one – as well as a deft understanding of how the ‘‘missing’’ …
Rape’S Metatheatrical Return: Rehearsing Sexual Violence Among The Early Moderns, Kim Solga
Rape’S Metatheatrical Return: Rehearsing Sexual Violence Among The Early Moderns, Kim Solga
Kim Solga
What happens when theatre crosses the line, risks danger in the real? This paper explores the pernicious theatricalization of sexual violence in early modern England, its trouble-making uptake in Shakespeare's Titus Andronicus, and Julie Taymor's contemporary response in her 1999 film version of the play. Along the way the article probes a handful of questions about theatre's social efficacy: what are the consequences of understanding theatre as a potentially malevolent form of public art and expression? How do we account for those moments when theatre poses genuine risk? And, more importantly, how do we build a response to, an ethics …