Arts and Humanities Commons^™

Noises Off (October 12-15, 19-21, 1995), Michael Frayn

Student Theatre Programs

Program for Noises Off (October 12-15, 19-21, 1995).

The Cutting Edge, October/November 1995, Vol. 6 Issue 5, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Fall 1995, Vol. 18 Issue 3, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

Ua12/2/2 Xposure - Fall 1995, Wku Student Affairs

WKU Archives Records

1995 Xposure yearbook.

• Contributors
• Meese, Ray. Ethnic Harmony – International Festival
• Frazier, Stephan. The Unspoken Me – Scott Foster, Musicians
• Thomas, Kim. From the Front Page to Fruit Loops – College Heights Herald
• Shain, Kimberly. Politics? Who Cares!
• Hutchins, Chris. Live, Learn & Intern – Chris Daniel, Lisa Vaught
• Hutchins, Chris. The Power of Prayer – Eastside Church of Christ, Newman Center
• Meese, Ray. Cutting Up on Campus
• Gamblin, Joe. Comic Craze – Comic Books
• From the World of Art – Paintings
• Noel, Anthony. Achieving Greatness – Theatre & Dance
• Noel, Anthony. Precious Moments with the Duke – Duke Orsino, …

The Cutting Edge, July/August 1995, Vol. 6 Issue 4, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Summer 1995, Vol. 18 Issue 2, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

The Cutting Edge, May/June 1995, Vol. 6 Issue 3, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

Dance Alive Ii (April 20-22, 27-29, 1995), Lindenwood College

Student Dance Programs

Event program for Dance Alive II (April 20-22, 27-29, 1995).

Performing "History": A Translator's Introduction, Allen J. Kuharski

Theater Faculty Works

No abstract provided.

Translation Of “Democracy In Poland: A Few Skeptical Comments” By M. Król, M. Król, Allen J. Kuharski , Translator, P. Guzik , Translator

Theater Faculty Works

No abstract provided.

The Fight Master, Spring 1995, Vol. 18 Issue 1, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

Los Gatos: Gómez-Arcos's Spectacle Of Sacrifice, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Agustfn Gómez-Arcos's Los gatos is a powerful, chilling piece of theater, a sacrificial spectacle steeped in passion, violence, and death, which straddles the balustrade between the emotional intensity of a Lorcan tragedy and the grotesque hyperbolism and dark humor of Valle-lnclán's esperpentos. In 1965, a censored production of Los gatos, directed by Juan de Prat-Gay, premiered to a somewhat lukewarm reception at Madrid's Teatro Marquina. Then, in November 1992, nearly thirty years after its original première, director Carme Portaceli resuscitated and restaged this post-Civil-War allegory for a new generation of theatergoers. …

Sanctifying The Scatological And Debasing The Divine: Postmordernist Allegory And Gómez-Arcos's Interview De Mrs. Muerta Smith Por Sus Fantasmas, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

In February 1991, when Agustin Gómez-Arcos's Interview de Mrs. Muerta Smith por sus fantasmas premiered at Madrid's Sala Olimpia, the voice of one of Europe's most distinguished living writers triumphantly returned to the Spanish stage after an absence that had endured nearly twenty-six years. Born in Almería at the outset of the Spanish Civil War, Gómez-Arcos began his career in Madrid as an award-winning playwright. Eventually his ongoing struggle against Francoist censorship prompted his voluntary exile from Spain in 1966, and following a two-year sojourn in London, he arrived in Paris amid the clamor of 1968. Since that time he …

Asses And Wits: The Homoerotics Of Mastery In Satiric Comedy, Mario Digangi

Publications and Research

This essay explores master-servant homoeroticism in three seventeenth-century satiric comedies: Ben Jonson's Epicoene and Volpone and George Chapman's The Gentleman Usher. Whereas "sodomy" always signifies social disorder, "homoerotic" useful for describing same-sex relations that are socially normative or orderly. Thus homoerotic master-servant relations become "sodomitical" only when they are perceived to threaten social order. In Epicoene, the character associated with the disorder of "sodomy" is neither Dauphine or Epicoene, but the "unnatural" Morose, even though he has not literally had sex with the boy he marries. The erotic master-servant relationship in Volpone is sodomitical because it transgresses against …

Chicago (March 23-25, 30-31, April 1, 1995), Bob Fosse, Fred Ebb

Student Theatre Programs

Program for Chicago (March 23-25, 30-31, April 1, 1995).

The Cutting Edge, March/April 1995, Vol. 6 Issue 2, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

Abundance (February 16-18, 23-25, 1995), Beth Henley

Student Theatre Programs

Program for Abundance (February 16-18, 23-25, 1995).

Choices Of Evil: Brecht's Modernism In The Work With Eisler And Dessau, William Grange

Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity

Brecht wanted composers of music for his mature work who were capable of creating an idiom complementary to his own modernist ideas of theatrical performance. That idiom he called "gestic" music, the kind capable of "conveying particular attitudes adopted by the speaker towards other men" [bestimmte Haltungen des Sprechenden anzeigt, die dieser anderen Menschen gegenüber einnimmt]. When playing a fascist, for example, the actor was not merely to present the character's pompousness; he or she was to illustrate a political stance toward that pompousness. Nor was the actor to reveal layers of the character's motivation, like girls in Broadway burlesque …

"The Blondest Of The Blondes", William Grange Prof. Dr.

Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity

The German theatre underwent a revolution of shattering magnitude in 1933 when the National Socialists assumed power. The Nazis had an avid interest in theatre as an expression of “the peoples’ will,” even as they viewed the theatre of the Weimar Republic as a Babylon of “hyper-modern, bolshevistic, mollusk-like, and neurasthenic aesthetics.”

Grupo Ubú: El Edificio De La Identidad En Barriendo Sombras, Cesar Valverde

Scholarship

No abstract provided.

Bazi-Ha-Ye Nameyeshi: Iranian Women's Theatrical Plays, Anthony Shay

Pomona Faculty Publications and Research

Iranian women's comic improvised traditional theatre is a rich and important, but little-known, source of performative and textual material that has been rarely documented or discussed by serious students of folklore and dance, either in Iran or in the West. I argue that this amateur theatrical form performed and created by women for other women is the single most important source representing the multivocality of traditional Iranian women of all classes. Both in content and performance, these theatrical plays or games are a unique form of expression that needs several analytic approaches to elucidate its meaning and place in women's …

Ua12/2/2 Xposure - Rites Of Passage, Wku Student Affairs

WKU Archives Records

1995 Xposure yearbook.

• Contributors
• Dr. Martin Luther King, Jr. Day, 1996
• Frazier, Andy. My Cup Is the Cup of Life – Coffee
• Hinkebein, Dana. Behind the Curtains – Theatre & Dance
• Thomas, Kim. Rites of Passage – Mark Nethery, Jessica Nethery
• Cunnoe, James. College: Land of the Free & Home of Instant Pasta
• Thomas, Kim. The Search for Truth – Religion, Paul Miller, Native Americans, Clay Coleman, Candi Cabaniss, Atheism
• Meese, Ray. Confirmed in the Faith – Pam Page, Catholicism
• Broadbent, Stephanie. The Stigma Unearned: Virginity in College
• Davis, Amanda. Nontraditional Values – Nontraditional Students
• Spears, Brian. Turn On, Tune …