Theatre and Performance Studies Commons^™

Contemporary Romanian Theatre: Artistry, Honesty, And Adaptation In The Plays Of Iosif Naghiu, Dumitru Radu Popescu And Marin Sorescu, Eric Pourchot

Dissertations, Theses, and Capstone Projects

This study examines the plays and productions of three contemporary Romanian playwrights—Iosif Naghiu, Dumitru Radu Popescu, and Marin Sorescu—as they reflect the changing cultural policies and climate of Romania from 1968 to 1998. The three case studies demonstrate that, faced with harsh political censorship during the Ceausescu years and economic difficulties since the overthrow of communism in 1989, contemporary Romanian drama and theatre has nevertheless maintained an artistic merit and integrity deserving of wider acknowledgment. Romanian directors are well-known internationally but, paradoxically, the drama of Romania, despite close linguistic connections to Western Europe, has received far less attention than has …

John Brougham: The American Performance Career Of An Irish Comedian, 1842–1880, Dana Rahm Sutton

Dissertations, Theses, and Capstone Projects

Reports during the nineteenth century indicate that John Brougham was one of the best known actors of his day, but little study during the twentieth century has been made of his performance career. Today he is sometimes recognized as a playwright, probably because two of his plays have been included in anthologies of nineteenth-century plays, but he considered himself primarily an actor rather than playwright. While it has been acknowledged that he was never very successful financially in his repeated attempts at theatre managements, reasons for his lack of success have not been fully explored. His artistic triumphs as a …

The "Confessing Animal" On Stage: Authenticity, Asceticism, And The Constant "Inconstancie" Of Elizabethan Character, Peter Iver Kaufman

Jepson School of Leadership Studies articles, book chapters and other publications

For persons persuaded by the rhetoric of sixteenth-century religious reformers, authenticity was a complex matter of access to the reality of divinity. George Levin's paper on empiricist "habits of mind" seems a strange place to start elaborating on that observation, for such "habits" look to be worlds apart from what I study, the sixteenth-century Calvinist adaptations of patristic and medieval ascetic spirituality. Yet Levin maintains that he has identified empiricism's near-ascetic techniques. "To know nature," he claims, "one must make it alien ... and deny one's own desire." If he is correct about "the programmatically self-alienating" character of "the positivist …

The Women Of The Ten, Twent', Thirt': Popular Melodrama Theatre In Turn-Of-The-Century New York, Barbara Meredith Waldinger

Dissertations, Theses, and Capstone Projects

During the first decade of the twentieth century, when the population of New York City was growing by leaps and bounds because of immigration, urbanization, and industrialization, a short-lived theatre movement known as the "ten-twenty-thirty," or, more familiarly, the "ten, twent', thirt," was born. Originally named for the low prices of the tickets, the term came to encompass various types of touring companies that travelled throughout the country, resident stock companies, and hundreds of plays, mostly melodramas, written expressly for this movement. Created by enterprising producers, managers, and playwrights, the ten, twent', thirt' catered to the needs of the working-class …

Sex, Violence, And Hand Puppets: History And Structure Of Punch And Judy Performance Tradition, James Robert Davis

Dissertations and Theses @ UNI

Punch and Judy are characters who exist only within the boundaries of the puppet theatre, in performances where characters are portrayed by inanimate figures. Nonetheless, the history of the puppet theatre, and particularly that of Punch and Judy, is closely related to the history of more widely accepted, actor-based theatre, where characters are portrayed by human beings. While the two traditions-share many common elements--such as the importance of characterization, direction, and design--the essential difference between actor-theatre and puppetry is the manner in which the performance is presented. The approach of this study is threefold: first, a linear history of the …

Un Nen A L'Escala, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

El personatge principal d'El criptograma de David Mamet és John, un nen de deu anys hipercansat i d'ulls lleganyosos, intelligent i tafaner, a qui el seu permanent insomni ha deixat en un curiós estat de fantasia, en algun lloc entre el desvetllament i la vigília inconscient. El seu gest més compulsiu dins l'espai escènic consisteix en un constant viatge amunt i avall d'una escala amenaçadora que domina el camp de visió dels espectadors. L'escala és potser l'únic objecte estable sobre l'escenari i actua com un lloc de transició i un pont espaciotemporal entre el món innocent del nen (a dalt) …

Performance Theory: «Desde Lo Político A Lo Espectacular: El Caso De Els Joglars», Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Durante las últimas décadas, en Estados Unidos, España y otras partes del mundo, una de las cuestiones que ha suscitado un mayor grado de reflexión en el mundo teatral, por parte de los artistas tanto como de los teóricos, es la interrogación crítica y radical sobre la relación entre texto dramático y representación. La palabra escrita, tradicionalmente proveniente del dramaturgo e históricamente considerada el locus de autoridad en el teatro, empezó a perder su potencia prescriptiva con respecto al montaje artístico o «puesta en escena». Incluso, en algunas ocasiones, el espectáculo teatral alcanzó un nivel de independencia según el cual …

"Un Agujero Sin Límites": La Mirada Fenomenológica De Josep M. Benet I Jornet, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Con un estilo libremente poético y, a veces, frenético, Richard Foreman, dramaturgo, director, y figura predilecta del mundo del teatro experimental neoyorquino, intentó en 1972 trazar del modo siguiente los puntales teóricos de su llamado "Teatro Ontológico - Histórico"

I want to be seized by the elusive, unexpected alivenesss of the moment.

Surprise at the center: not the surprise of the least-expected…because that (Least-expected) is a reaction that “places” it and makes it no longer elusive. But

surprised by

a freshness

of moment that eludes

constantly refreshes. You go toward it

and can’t seize it? You don’t go toward it….. …

Agustín Gómez-Arcos En El Ocaso Del Exilio: Los Primeros Años Parisinos, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Agustín Gómez-Arcos llego a Francia en 1968, y sus primeros años de residencia en Paris representan un intervalo de transición con respecto a su trayectoria como escritor. Es una época de continuidad, tanto como de ruptura, en la cual las arduas memorias de un pasado español se funden con nuevos comienzos. Mientras que los temas que marcaron sus obras anteriores -la política, la religión, el erotismo y la lengua siguen habitando su escritura exílica, a la vez, su salida de España lógicamente induce una serie de transformaciones temáticas y estilísticas que más adelante pasaran a su obra novelística. En el …