Theatre and Performance Studies Commons^™

Year Of Cuba 2019-2020, Nashieli Marcano, Leslie Drost

Research Guides & Subject Bibliographies

No abstract provided.

Lord Of The Flies Playbill, Providence College

Playbill and Promotion

Lord of the Flies

Providence College Department of Theatre, Dance & Film

Angell Blackfriars Theatre

by William Golding, Adapted for the stage by Nigel Williams

Directed by Patrick Mark Saunders and John Garrity

Scenic Designer: Renée Surprenant Fitzgerald

Costume Designer: Anna Grywalski

Lighting Designer: Marc Tiberiis II

Sound Designer: Paul Perry

Voice and Dialect Coach: Megan Chang

Properties Designer: Peggy Becker

Fight Choreographer: Jim Beauregard

Cast

(in order of appearance)

Rafe: Amanda Piechota

Piggy: Abdelnasser Zadieyh

Jack: Timothy Brown

Simon: Daniel Jameson

Sam: Thomas Edwards

Erin: Caprial Harris

Hailey: Charlie Seymour

Bill: Bruno Guiop

Robin: Halle Pratt

Persephone: Katie Vennard …

Lord Of The Flies Box Office Sign Up Sheet, Box Office

Playbill and Promotion

Providence College Department of Theatre, Dance & Film

Lord of the Flies box office sign up sheet

Thursday - Sunday, January 24-27, 2019

Friday-Sunday, February 8-10, 2019

The Mixed Reception Of The Hamilton Premiere In Puerto Rico, Daniel Pollack-Pelzner

Faculty Publications

In this article originally published in The Atlantic, Daniel Pollack-Pelzner wonders about the challenges of premiering the famed Broadway musical, Hamilton, during a time of political discord in the aftermath of 2017's Hurricane Maria, in Puerto Rico.

How Can We Know The Dance From The Dance?: Exploring The Complexity Of Staging Dance Legacy Works, Elizabeth Mcpherson

Journal of Movement Arts Literacy Archive (2013-2019)

Staging works from our rich concert dance heritage relies on determining what the “real” dance is, particularly when the work is no longer currently performed. Because choreographers frequently alter their choreography, creating multiple versions of a dance, identification of a definitive version can be a complex process. Adding to the complexity, there is the involvement of the stager, performers, and the audience who are each active or passive participants in the ultimate performance of a work. Through conversations with prominent stagers, scholarly discourse, and personal experience, the author investigates some of the key concerns and questions regarding staging dance legacy …

Center For Art & Theater News, Georgia Southern University

Center for Art & Theater (Archived)

• Artist brings unique collection to Georgia Southern Statesboro Campus
• Writer, naturalist blends poetry, art in exhibition on Statesboro Campus

Impact By Intention: An Argument For Forensics As A High-Impact Practice, Vincent L. Stephens

National Forensic Journal

This essay locates forensics within national discourse about high-impact practices (HIPs) in higher education, as outlined by scholar George D. Kuh. Forensics shares all the characteristics associated with the ten promising practices Kuh (2008) outlined initially. Though Kuh's original overview and expanded list of practices (Kuh, 2016) serve as reference points for addressing HIPs, forensics has not been recognized as a HIP. The essay argues that framing forensics as a HIP could enrich advocacy efforts to start and/or sustain current forensics programs. The article connects the fiscal climate with the assessment paradigm, examines the ways forensics adheres to Kuh's definition, …

Living Objects Essays: Prologue, John Bell

Living Objects: African American Puppetry Essays

Living Objects: African American Puppetry co-curator John Bell describes the team responsible for the Living Objects exhibition, festival, symposium, and online catalogue.

Embracing Complexity In Performing The Other, Valeska Maria Populoh

Living Objects: African American Puppetry Essays

"Embracing Complexity in Performing the Other" is a personal essay by a white, Baltimore-based cultural organizer, puppeteer and educator, reflecting on three scenarios that have catalyzed her thinking about white people performing Black puppets. The author shares her own experience of navigating the complex, and at times highly combustible, issues about representation, appropriation and racial identity in the realm of puppetry, and concludes with a few questions to stimulate further dialogue in the puppetry community about these issues.

Race And Representation: Creating A Puppet Production For The Smithsonian Institution, Brad Brewer

Living Objects: African American Puppetry Essays

The Brewery Puppet Troupe was commissioned by the Smithsonian Museum’s Lemelson Center to undertake new creative challenge: a show featuring African American scientist Lewis Latimer, the nineteenth-century inventor instrumental in creating the electric light bulb. Brad Brewer was committed to showing how Latimer’s life was affected by America’s struggle with slavery and racial inequality, issues he considered equally important to Latimer's scientific achievements. Staff historians read and commented on all the drafts of the script, but the production still included comedic elements typical of a Brewery Troupe production. The project allowed the author to explore some of the hard realities …

An Email Interview With Alva Rogers, Paulette Richards

Living Objects: African American Puppetry Essays

Actor, writer, and puppeteer Alva Rogers recounts her long-standing interests in theater, and her early performances combining dolls with texts by Zora Neale Hurston and others. Her work as a performance artist led to her role as Eula in the film Daughters of the Dust. She then studied playwriting, musical theater, and history at Brown University, NYU, and Bard College respectively. Rogers’s influences include surrealist painters, magic realism, such writers as Adrienne Kennedy, Ralph Ellison, and Federico Garcia Lorca, and the Gullah/Geechee culture of the Sea Islands of South Carolina and Georgia. She uses both dolls and puppets in …

Servance Dancers, Paulette Richards

Living Objects: African American Puppetry Essays

How many African American folk artists have created performing objects outside the purview of formal theater? Master woodcarver George Servance is one such 20th-century artist who used his skills to counter minstrel stereotypes and present African Americans as elegant and accomplished entertainers.

Raceless Racism: Blackface Minstrelsy In American Puppetry, Amber West

Living Objects: African American Puppetry Essays

Blackface minstrelsy has long been recognized as one of the major elements of 19th and early 20th-century popular performance in the U.S., but its central role in U.S. puppetry has not been explored. West debunks the idea that puppets are “raceless”, examining the origins of blackface minstrelsy in American puppetry, including traditional Punch and Judy performances, William John Bullock’s 19th-century puppet minstrel shows, the creation of “realistic” Black puppets by white puppeteers in the early 20th century, and contemporary examples of exaggerated Black puppet characters, for example in a music video directed by Black artist Boots Riley. West points out …

Storytelling And Puppetry, Susan Fulcher

Living Objects: African American Puppetry Essays

Librarian Susan Fulcher recounts the creation of a storytelling with puppets program she developed with puppeteer Dave Herzog, in which kids create their own puppet characters to be incorporated into existing stories such as Stone Soup.

“It’S Not Easy Bein’ Green”: Greenface And The Jazzy Frog Trope, Paulette Richards

Living Objects: African American Puppetry Essays

One element of blackface minstrelsy was the representation of Black people as swamp characters, especially frogs. In her examination of the development of the “jazzy frog” as a transposition of greenface onto blackface, Richards traces the growth of the trope in popular film and cartoons of the early 20th century. She then considers Jim Henson’s creation of the popular puppet character Kermit as a variation on this trope, but with a different purpose: to represent Henson’s “vision of tolerance for difference and creative collaboration.” The “re-humanization” of the jazzy frog includes the 1967 hit song “I’m in Love with a …

Wear The Story Like A Jacket: Akbar Imhotep, Paulette Richards

Living Objects: African American Puppetry Essays

This profile of Akbar Imhotep’s work as a puppeteer and storyteller in Atlanta in the late 20th century describes his connections to the Center for Puppetry Arts, the folk-art roots of his approach to puppetry, the unique puppet stage he made from old suitcases, and the process he uses to prepare for performances.

Black: :Body: :Gesture: From Puppetry To Performance & Design, Gabrielle Civil, Kelly Walters

Living Objects: African American Puppetry Essays

In this visual document, Gabrielle Civil and Kelly Walters distill and recreate key aspects of their live dialogue on African-American puppetry, black performance art, material and digital design. What are examples of African American living objects in the 21st century? What does it mean to animate objects when, as a people, we were once considered to be living objects ourselves? Drawing on their own practice, these artists engaged these questions, activated audience discussion, and transformed the results into a new source text for further activation.

Black And Blackface In The Performing Object: Bullock, Chessé, Paris, The Jubilee Singers, And The Burdens Of … Everything, Ben Fisler

Living Objects: African American Puppetry Essays

The representation of Black identity through puppetry ranges from “grotesque exaggeration to near pictorial realism,” and engagement not only with racial stereotyping, but also the possibility of positive racial representation. Fisler details the extensive degree to which puppeteers in the early 20th century depended upon Black and blackface characters for their livelihood, and points out the complexities of such representations involving Black puppeteers of Federal Theater Project puppet companies, and the work of Creole puppet artist Ralph Chessé. Fisler argues that some white puppeteers, including Frank Paris, sought to portray such Black characters as Josephine Baker in a “potentially more …

Tar Baby: The Performance Of Object, Ra Malika Imhotep

Living Objects: African American Puppetry Essays

This essay engages the figure of the “Tar Baby” as a guide through the theoretical terrain of Afro-Diasporic storytelling culture. Thinking about the role of gesture and voice in the repertoire of global Black performance, this presentation sets out to offer a nuanced Black feminist analysis of the sticky character and the impact of her diasporic flight. Calling in both theoretical work on Black performance and personal reflections on an engagement with the Tar Baby through storyteller and puppeteer Akbar Imhotep’s rendition of the story performed at the Wren’s Nest in Atlanta Georgia, the essay explores the ways Afro-Diasporic storytelling …

The Appropriation Of Blackness, Nehprii Amenii

Living Objects: African American Puppetry Essays

The continuing appropriation of Black culture in the U.S. is closely tied to the trauma and injustice of the African diaspora and the history of slavery. Black people, Amenii argues, need to re-appropriate themselves, through the “excavating and re-articulating of our intellectual heritage and knowledge systems.” Citing Ahmad Azzahir’s description of African modes of thinking as “based on spirituality, symbol, mythos, and harmonium,” she sees her own work as “creative anthropology” that draws on storytelling and image-making to create self-study. Her production Food for the Gods, “a multi-media performance installation created in response to the killings of Black Men by …

African Puppetry And Brazilian Mamulengo: Possible Links Between Symbolic And Material Representations, Izabela Brochado

Living Objects: African American Puppetry Essays

Although Brazil’s popular Mamulengo hand-puppet tradition is often considered to have primarily European roots, Brochado argues that “the primary source of the Mamulengo lies with African slaves.” Citing sources including puppeteers and folklorists explaining the origins of Mamulengo in northeast Brazil, Brochado argues for the African roots of the form, citing the relation of Mamulengo performance to Afro-Brazilian cult rituals; the commonality of often-comic sexual content in Mamulengo and in Yoruba puppetry of Nigeria and Benin; as well as the similar mechanics of puppets from both traditions which display work activities. She concludes that “even if African puppets were not …

College Of The Arts 19/20 Season, Department Of Theatre And Dance, John J. Cali School Of Music

2019-2020

No abstract provided.

Performing Arts And Performance Anxiety, Jacklyn Sue Bascomb

Theses, Dissertations and Capstones

Background: Performing arts are a broad view of a range of human activities that occur in front of an audience with the attempt to express human experience and emotion. Performing artists consist of dancers, instrumental musicians, vocal musicians, and drama/comedy or theater/actors. Actors and instrumental musicians participate in tremendous training to provide the emotional story they deliver. Multiple factors contribute to mental and physical stress experienced by a performer. Performance anxiety results from a performer’s fear of an adverse reaction or evaluation of their performance. Performance anxiety can be debilitating with negative effects on a performer’s performance, career, and health. …

Théâtre, Création Et Psychanalyse : Autour D’Une Mise En Scène De Premier Amour De Beckett, Ivan Magrin-Chagnolleau

Presidential Fellows Articles and Research

Je ne suis pas vraiment clinicien, mais ce qui m’intéresse dans ce lien entre art et clinique, c’est en lien avec une mise en scène que j’ai faite en juin dernier d’un texte de Beckett, qui n’est pas à proprement parler une pièce de théâtre, qui s’appelle Premier Amour. Et en réfléchissant à ce que j’allais pouvoir vous dire, je me suis rendu compte qu’il y avait plein de ponts entre création et thérapie. Donc je vais vous inviter à un petit voyage. Ce que j’essaie généralement de faire dans ma recherche, c’est de me promener dans plein d’endroits …

You're A Good Man Charlie Brown Media Release, Talia Triangolo

Playbill and Promotion

Providence College Department of Theatre, Dance & Film

You're a Good Man Charlie Brown media release

January 2019

Edgerton Center 2019/2020 Season, Edgerton Center For The Performing Arts

Edgerton Center Programs

Program brochure for the Edgerton Center for the Performing Arts 2019/2020 season.

A Cry Without An Echo: Consciousness, Creativity, And Healing Work Of The Arts, Ellen Kaplan

Theatre: Faculty Books

Book abstract: Performing Psychologies offers new perspectives on arts and health, focussing on the different ways in which performance interacting with psychology can enhance understanding of the mind. The book challenges stereotypes of disability, madness and creativity, addressing a range of conditions (autism, dementia and schizophrenia) and performance practices including staged productions and applied work in custodial, health and community settings. Featuring case studies ranging from Hamlet to The Curious Incident of the Dog in the Night-Time, the pioneering work of companies such as Spare Tyre and Ridiculusmus, and embracing dance and music as well as theatre and drama, the …

2019-2020 Peak Journal, Office Of Arts + Cultural Programming, Peak Performances At Montclair State University, Claudia La Rocco

PEAK Journals

No abstract provided.

Jennifer Schulz, Spring 2019, Jennifer Schulz

Teaching Skills Study Awards (TSSA) Reports

No abstract provided.

Volume 36 - Front Matter

National Forensic Journal

No abstract provided.