Arts and Humanities Commons^™

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 …

Building A Digital Museum: Opportunities For Scholarship And Learning, Christy Allen, Rick Jones

Christy Allen

No abstract provided.

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

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.

Speaking And Sensing The Self In Authentic Movement: The Search For Authenticity In A 21st Century White Urban Middle-Class Community, Seran Schug

Seran E Schug Ph.D.

Speaking and Sensing the Self in Authentic Movement The Search for Authenticity in a 21st Century White Urban Middle-Class Community Seran Endrigian Schug Asif Agha and Rebecca Huss-Ashmore This ethnography is about Authentic Movement, a ritual form of dance and self-narrative in which a participant performs free association through trancelike movement in the presence of a “compassionate” witness as a means toward the discovery of an authentic self. Rooted in anti-modernist social movements in late 19th century urban middle- and upper-class communities in the United States, Authentic Movement brings to light a central paradox of modern life—though it is through …

Review, The Spirits And The Law: Vodou And Power In Haiti, Gina Ulysse

Gina Athena Ulysse

Book review, Kate Ramsey, The Spirits and The Law: Vodou and Power in Haiti (UChicago 2011).

Process Drama: Bridging The Arts And The Sciences, Chamkaur Gill

Chamkaur Gill

Process drama involves participants using improvisation techniques in role-play to enact real-life scenarios. It focuses on the process rather than the final product and therefore allows students and teachers to simulate actual situations experientially and, in the process, develop problem-solving skills. It has been used as learning and teaching strategy in various disciplines in the arts and the sciences. Students enjoy situated learning through contextualisation of concepts within their fields, acting out scenes that deal with issues pertaining to their fields of study. Process drama is, in essence, learning by doing while at the same time creating a real-life environment …

’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.

“Peer Reviewed: Elizabeth Inchbald’S Shakespeare Criticism", Karen Gevirtz

Karen Bloom Gevirtz

No abstract provided.

Early Modern Drama And Realist Performance On The Contemporary Stage, Kim Solga, Roberta Barker

Kim Solga

No abstract provided.

Beautiful Evil: (Re)Covering The Subversive Rhetorics Of Adah Isaacs Menken, Jeanne Bohannon

Jeanne Law Bohannon

No abstract provided.

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

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 …

Intended For The Stage?: Samson Agonistes In Performance, Timothy Burbery

Timothy J. Burbery

The year 2000 marked the centenary of an important but overlooked milestone in Milton studies, namely the first staging of Samson Agonistes, by William Poel, in 1900. While many scholars may be aware of isolated productions of the tragedy, the extent and variety of its stage history is perhaps less well-known. The work was successful as a dramatic reading throughout the eighteenth and nineteenth centuries, yet it had never been attempted on the boards until Poel’s landmark production. That event ushered in a range of performances throughout the twentieth century, and nearly every decade saw several dramatizations. At least fifteen …

John Milton, Blackfriars Spectator?: "Elegia Prima" And Ben Jonson's The Staple Of News, Timothy Burbery

Timothy J. Burbery

In the spring of 1626 John Milton was temporarily expelled from Cambridge University, perhaps over a quarrel with his tutor William Chappell, and sent home to London, where he remained for at least several weeks. There, the seventeen-year-old poet composed his first elegy, a Latin verse-letter to his closest friend, Charles Diodati. In it, Milton claims to be enjoying his unexpected holiday by reading, girl watching, and attending the theater. Milton scholars have never reached consensus about his alleged playgoing, for while the young man speaks as a spectator, the plots and characters he mentions-these include comic types such as …

Jared Brown, Jared Brown

Jared Brown

The Shipment (Directed By Young Jean Lee), Raquel Davis

Raquel Davis

No abstract provided.

Rosencrantz And Guildenstern Are Dead (Directed By Mike Baltzell), Raquel Davis

Raquel Davis

No abstract provided.

Iron Chef Boise, Raquel Davis

Raquel Davis

No abstract provided.

Hamlet (Directed By Gordon Reinhart), Raquel Davis

Raquel Davis

No abstract provided.

'Hamlet', Boise State University, Gordon Reinhart

Gordon Reinhart

Shakespeare’s masterpiece “Hamlet” is considered to be one of the most profound plays written in the English language. As the Prince of Denmark struggles to revenge his father’s murder, Shakespeare offers a compelling meditation on human destiny and the dark perplexity of world events.

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

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

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

Kim Solga

No abstract provided.

Review Of "Isaac's Eye," By Lucas Hnath, Ensemble Studio Theater, Karen Gevirtz

Karen Bloom Gevirtz

No abstract provided.

"Pocket Gamelan - Mobile Voices", Greg Schiemer, Janys Hayes, Lotte Latukefu

Janys Hayes

The Pocket Gamelan is a consort of microtonal instruments designed as software for mobile phones. Phones produce sustained pitches and, like gamelan instruments, are easy to play and quick to learn. Each phone is mounted in a fabric pouch and swung gently using a 1-metre cord. Or, by pressing keys a player may control sound on another phone. (Able to access the website to listen/view to piece)

What Matters/What's Matter, Samuel Solomon

Samuel Solomon

No abstract provided.

Introduction: Reclaiming Canadian Realisms, Kim Solga, Roberta Barker

Kim Solga

No abstract provided.

Costuming The Shakespearean Stage: Visual Codes Of Representation In Early Modern Theatre And Culture, Robert Lublin

Robert Lublin

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed.

Four of the chapters of Costuming the Shakespearean Stage address 'categories of seeing': visually based semiotic systems according to which costumes …