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“Boadicea Onstage Before 1800, A Theatrical And Colonial History.” Studies In English Literature 1500-1900 49.3 (Summer 2009): 595-614., Wendy Nielsen Apr 2019

“Boadicea Onstage Before 1800, A Theatrical And Colonial History.” Studies In English Literature 1500-1900 49.3 (Summer 2009): 595-614., Wendy Nielsen

Wendy Nielsen

This essay examines the theatrical legacy of Boadicea, the British warrior queen defeated by the Romans around 61 AD, in three plays: John Fletcher's "The Tragedy of Bonduca, or the British Heroine" and two unrelated dramas titled "Boadicea" by Charles Hopkins and Richard Glover. Performance histories attempt to explain why audiences respond to Boadicea with ambivalence. Each production underplays the defeated queen and gives starring roles to one or more of her daughters and a male lead, who contrast with Boadicea's supposed brutality and provide British audiences with lessons about ways to rule in an ostensibly civilized fashion.

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And Then There Were None, Robert Clements, Tim Phipps, Rebecca M. Baker Nov 2014

And Then There Were None, Robert Clements, Tim Phipps, Rebecca M. Baker

Robert Clements, M.Ed.

Adapted from Agatha Christie’s best-selling novel, the play tells the tale of a group of strangers, all with questionable pasts, isolated on an island off the coast of Devon. And Then There Were None will captivate you not only by the skillful twists and turns of a “Who done it?” but also by the suspense of “Who’s next?” This is Agatha Christie at her best!

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Review Of "Of Love And War" By Judy Hayden, Karen Gevirtz Dec 2012

Review Of "Of Love And War" By Judy Hayden, Karen Gevirtz

Karen Bloom Gevirtz

No abstract provided.

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Review Of "Isaac's Eye," By Lucas Hnath, Ensemble Studio Theater, Karen Gevirtz Dec 2011

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

Karen Bloom Gevirtz

No abstract provided.

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The Activist Classroom: Performance And Pedagogy, Kim Solga Dec 2010

The Activist Classroom: Performance And Pedagogy, Kim Solga

Kim Solga

As teachers of theatre history, theory, and performance theory and practice we engage in crucial public work: the training of future audiences. Our labour, every day, is social activism, whether we call it that or not. The latest issue of Canadian Theatre Review celebrates this work, and explores its challenges from multiple perspectives. It includes contributions from performers, public arts workers, students, and scholars who work in theatre for education, performance studies, English literature, and more. The issue also features a forum on pedagogical innovation in the theatre studies classroom, as well as five short scripts developed by students at …

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"A Comely Presentation And The Habit To Admiration Reverend": Ecclesiastical Apparel On The Early Modern English Stage, Robert Lublin Dec 2007

"A Comely Presentation And The Habit To Admiration Reverend": Ecclesiastical Apparel On The Early Modern English Stage, Robert Lublin

Robert Lublin

Notions of the sacred and the profane took on a particular significance in late-sixteenth and early-seventeenth-century England. This period, chronologically circumscribed on one side by the Protestant Reformation and on the other by the Civil War, was a time of enormous religious change. These changes found articulation in the theatre of the period. Plays such as Marlowe’s Doctor Faustus, Shakespeare’s Henry VIII and Middleton’s A Game at Chess make significant use of historically specific understandings of Protestantism and Catholicism. Scholars have noted the religious aspects of these plays before, but what has garnered less critical attention is the manner …

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“An Vnder Black Dubblett Signifying A Spanish Hart”: Costumes And Politics In Middleton’S A Game At Chess, Robert Lublin Dec 2006

“An Vnder Black Dubblett Signifying A Spanish Hart”: Costumes And Politics In Middleton’S A Game At Chess, Robert Lublin

Robert Lublin

The political significance of Middleton’s A Game at Chess has drawn scholarly attention in the past, but one promising area of study has gone largely unconsidered: the play’s visual presentation. How did the actors appear when they first performed the play and how was that visual information received by early modern London audiences? This essay seeks to establish what costumes were worn by the King’s Men for their production of Middelton’s play and, more importantly, how they were received by their contemporary audience. Through such a study, we learn that Middleton employed costumes as skillfully as he used dialogue to …

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Selected Studies In Drama And Renaissance Literature, Clifford Davidson Dec 2005