Dramatic Literature, Criticism and Theory Commons^™

Manuel Molins: Una Altra Ofèlia I Els Fantasmes De Shakespeare, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

L'apropiació i reinscripció que de Hamlet ha fet Manuel Molins, titulada Una altra Ofèlia (2001, estrenada al Teatre Rialto de València el 2004), comença, com a l'obra de Shakespeare, amb l'aparició d'un fantasma. A la primera de les nou escenes, el personatge d'Ofèlia explica a la falstaffiana I pitonissa I herborista Dida (personatge síntesi que és el resum de molts personatges shakespearians) un somni que ha tingut i en el transcurs del qual ha presenciat la manifestació d'un espectre en l'esplanada del castell. D'alguna manera, des del moment que comença l’obra, Ofèlia sembla haver usurpat el paper de Hamlet, ja …

December 2007 - Volume Vii, Number 1, Theatre Arts Department

Sides (Newsletter)

SIDES Volume VII Number 1 includes articles on the new Doudna Fine Arts Center and also an obituary of Ernest Glendon Gabbard.

«American Awakenings» Dos Nous Musicals, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

A Nova York, la temporada teatral 2006-2007 ha estat marcada per la presència de dos nous musicals que han tingut un gran èxit de públic i que han rebut diversos premis i distincions: Grey Gardens (música de Scott Frankel, llibret de Doug Wright i lletres de Michael Korie), basat en el documental epònim d’Albert i David Maysles, de 1975; i Spring awakening (música de Duncan Sheik, llibret i lletres de Steven Sater), basat en una obra de teatre de Franz Wedekind de 1891. La premsa ha elogiat a bastament aquestes dues produccions, que han estat considerades les «estrelles» de la …

June 2007 - Volume Vi, Number 2, Theatre Arts Department

Sides (Newsletter)

SIDES Volume VI Number 2 includes a letter from former Chair John Oertling and a "Where Are They Now?" section.

Els Paisatges Europeus De Carles Batlle, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

A l'escena final d'Oasi (2001) de Carles Batlle, en un moment que conjura, curiosament, reminiscències de L'hort dels cirerers d'Anton Txékhov, el personatge d'Abdal·là, un vell home àrab, roman a l'interior de la casa (situada a Ia Catalunya rural) que és a punt de desaparèixer sota les aigües d'un nou pantà. Abdal·là se serveix un got de vi, un gest més europeu que àrab, mentre descriu el joc del guetan. El joc, una invenció de l'autor i de lleugera semblança al joc dels escacs, és una al·legoria dels encreuaments transnacionals, des del sud cap al nord i des del nord …

December 2006 - Volume Vi, Number 1, Theatre Arts Department

Sides (Newsletter)

SIDES Volume VI Number 1 includes articles about the construction of the Doudna Fine Arts Center and a visit from the National Association of the Schools of Theatre.

The Sacred Performative: Holy Wednesday And Colonial Ritual/Theatre, Christopher B. Swift

Publications and Research

"Holy Wednesday" is a late sixteenth century adaptation of a Spanish auto sacramental (sacred play) written in alphabetized Nahuatl, the predominant pre-Columbian language spoken on the High Central Plateau of Mexico. The author remains unknown, however he was likely a Nahua amanuensis educated by Franciscans at Colegio de Santa Cruz in Tlatelolco. Religious drama was one of the important evangelizing tools of the Catholic brotherhoods in colonial Mexico and although a record of performance of Holy Wednesday does not exist, this dramatic depiction of the final meeting of Christ and Mary prior to the crucifixion was almost certainly performed as …

June 2006 - Volume V, Number 2, Theatre Arts Department

Sides (Newsletter)

SIDES Volume V Number 2 features an article about an unofficial reunion of 1975-1983 Alumni and the obituary of Lucina "Lucy" Gabbard.

L'Habitació Del Nen O La Insuportable Elusivitat De L'Experiència, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Les obres teatrals de Josep M. Benet i Jornet estan marcades per un interès en l'experiencia polifacètica de la mirada i el paper del perspectivisme dins el terreny teatral. Un impuls aporètic guia bona part de la seva obra més recent, ja que ens condueix a mons misteriosos i a espais buits en què facilment podem perdre'ns o on ens costarà de trobar el camí. Una atmosfera de misted envolta una ttanscripció poètica de l'espai, ja sigui una realitat psíquica interior o un paisatge exterior. Són espais fràgils en concepció, sovint perillosament al punt d'esvair-se. Els títols epigramàtics d'algnnes de …

December 2005 - Volume V, Number 1, Theatre Arts Department

Sides (Newsletter)

SIDES Volume V Number 1 includes articles about the Doudna Fine Arts Center project and a "Where Are They Now?" section.

June 2005 - Volume Iv, Number 2, Theatre Arts Department

Sides (Newsletter)

SIDES Volume IV Number 2 features a piece about the construction of Doudna Fine Arts Center and a "Where Are They Now?" section.

Imagining Europe: Carles Batlle's Combat (Landscape In The Aftermath), Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

At the end of Suite (1999), an award-winning play by Catalan dramatist Carles Batlle i Jordà, there is a memorable scene in which the spectators observe the collapse of a doll house upon the living room floor. It is a metaphor of domestic, as well as global, instability—not to mention, an ironic reference to Ibsen—in which the audience is left to wonder whether the character of Berta, confused and disoriented in the suite of an old hotel, will return to the mirage-like image of bourgeois European domesticity, to a home and marriage without foundations, or whether she will flee to …

El Teatre Català Contemporani, L'Esfera Pública I La Figura De L'Autor: Retalls De L'Època De La Transició, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

En els darrers anys, al paisatge político-cultural que envolta Barcelona no li han faltat els seus bans moments de melodrama, d'acusacions enceses i de rampells d'histèria, que s'han pogut presenciar sobre i fora de l'escenari, tant a nivell públic com privat. Efectivament, en el món teatral català no és gens estrany que la vida real es confongui amb la de l'espectacle, oferint-nos reiteradament exemples del que el director Albert Boadella, al seu assaig El rapto de Talía, anomena el «virus exhibicionista» o «frenesí» que ha assetjat la societat contemporània. A Barcelona, com a altres llocs del món occidental, un dels …

December 2004 - Volume Iv, Number 1, Theatre Arts Department

Sides (Newsletter)

SIDES Volume IV Number 1 includes an article welcoming new faculty Allison Cameron, and a piece on the Liz Marfia and Phil Ash wedding on October 10, 2004, attending by 26 Theatre Arts alumni.

June 2004 - Volume Iii, Number 2, Theatre Arts Department

Sides (Newsletter)

SIDES Volume III Number 2 includes a welcome to new faculty Chris Mitchell and a "Where Are They Now?" section.

Dins La Nostra Memòria, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

L'àmbit espacial de la cultura catalana configura un paisatge fluid i dinàmic, un espai simbòlic d'emoció, percepció i subjectivitat. De la mateixa manera, Barcelona ha sorgit i ressorgit al llarg d'aquest segle i del passat com un espai transcultural fluid de migracions. En una ciutat en què en l'actualitat almenys el 12% de la població prové de fora de les fronteres espanyoles, tot faria pensar que els dramaturgs catalans se senten ara especialmente inclinats a considerar l’espai del pluralisme cultural que és per a'ells «casa seva». Tanmateix, al teatre el procés d'autoreconeixement i el desig d'autoconscienciació es complex. Referintse al …

December 2003 - Volume Iii, Number 1, Theatre Arts Department

Sides (Newsletter)

SIDES Volume III Number 1 includes an article about Jean Wolski being appointed Faculty Laureate and a piece about funding for the Doudna Fine Arts Center project.

Tornar A Casa, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

A l'última escena de Suite, l'obra amb què Carles Batlle i Jordà (Barcelona, 1963) va guanyar el Premi SGAE 1999, hi ha un moment memorable i crucial en el qual l'espectador observa el collapse -«com un castell de cartes»- d'una casa de nines sobre el terra d'una típica sala d'estar. Es tracta d'una metàfora d'inestabilitat domèstica i també d'inestabilitat global, una imatge amb ressonàncies intertextuals que entrelliguen la dramatúrgia de Batlle amb la d'Ibsen -i fins i tot la de Benet i Jornet (penso en aquell teatret en flames a l'escena final d'E.R). Després d'aquest moment crucial, una de …

Catalunya Invisible: Contemporary Drama In Barcelona, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

During the winter of 2000, Lluís Pasqual staged a Catalan version of Anton Chekov's The Cherry Orchard at Barcelona's Teatre Lliure, the historic home of Catalonia's most stable, accomplished, and distinguished repertory theatre company. In Chekov's play, Madame Lyobov Andreyevna Ranyevskaya, an emblem of the fading elegance and dwindling supremacy of the Russian aristocracy, is compelled by her situation of financial despair to sell her estate and cherry orchard to the nouveau-riche Lopakhin and then return to Paris on the eve of the Revolution. The orchard that was once admired for its beauty eventually will be destroyed in order to …

Giving Myself Permission: An Account Of The Performance Of The Role Of Masha In Three Sisters By Anton Chekhov, Amy Rafa

Open Access Master's Theses (through 2010)

This thesis is a documentation of my rehearsal and performance process in the University of Nebraska’s 1999 production of Three Sisters by Anton Chekhov. The document is composed in six parts: introduction, research, rehearsal and performance, journal, responses, conclusion and appendix.The introduction gives a general overview of my thoughts on acting and how this project was chosen. The research portion focuses on how the life and times of Chekhov pertain to my vision of Masha.The journal focuses on my character progression as Masha.The response section offers outside feedback on my performance.The conclusion sums up my thoughts and feelings about the …

Faust In Barcelona: Catalonia's La Fura Dels Baus, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Total darkness. Garbled electronic sounds gradually build into a thundering roar, reminiscent of a plane veering down the runway. An orgasmic explosion fills the theatre with a big bang and a sudden flash of light. Following the chaos, what emerges in the darkness is the phantasmal image of two rotating human heads fixed at opposite ends of a single body. It is Faust, fastened to a revolving metallic "bed" evocative of Leonardo da Vinci's armillary sphere. The heads spin like two satellites in a never-ending cosmic orbit, creating a subtle allusion to the Faust/Mephistopheles duality that later in the performance …

"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….. …

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 …

Scenes From The Contemporary Barcelona Stage: La Fura Dels Baus's Aspiration To The Authentic, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

In October 1983, just south of Barcelona at the annual Sitges Theatre Festival, beneath the railroad tracks in the claustrophobic space of a subterranean pedestrian passageway, La Fura dels Baus erupted into public view with an embryonic version of their first major spectacle, entitled Accions ("Actions"). The performance was conceived along the same aesthetic lines that continue to shape even the most recent work of this Catalan company. Accions consisted of a series of transgressive and, at times, startling exercicis pràctics ("practical exercises") intended to elicit an impulsive, visceral response from audience members. In their program notes, La Fura defined …

Revolution, Song Lyrics By John Lennon And Paul Mccartney Playscript, Leroy C. Boyd Iii

Institute for the Humanities Theses

Revolution is a two-act play inspired by the works of John Lennon and Paul McCartney, formerly of the rock and roll music quartet known as The Beatles. Originally meant for a production, the play studies the lack of respect people have for the performing arts. It also examines the negative stereotypes that society places upon people who are actively involved within the arts and humanities.

The selection of songs from the Lennon-McCartney catalogue are synthesized with an original story line. The songs will reflect the feelings of a particular character at the time of a vocal performance.

Ello Dispara De Fermín Cabal: Hacia Una Configuración Posmoderna Del Espacio Textual/Teatral, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Ya que estamos llegando al final (o, al desenlace) del siglo XX, casi se ha convertido en tópico la idea de señalar - semiologicamente hablando - la relación dinamica que existe en el teatro entre el texto y la representación de ese texto. Si vuelvo una vez más a esta dicotomía histórica, no es para establecer- como han hecho algunos semiólogos - un modelo comunicativo que plantee la posibilidad de una relación dialéctica entre los dos términos, sino para observar basta qué punto el teatro posmodernista plantea una ausencia y una imposibilidad de tal relación. Anne Ubersfeld propone la …

Perlimplín: Lorca's Drama About Theatre, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

The contemplation of a theatrical work as a type of semiotizing machine which generates a network of signification systems, implies, a priori, the task of specifying the boundaries which define the object of analysis. Hence the dichotomy of text and performance has long been recognized as uniquely inherent in the theatre genre and, therefore, a logical preoccupation of the theatre semiotician. As indicated by contemporary theoretical work (such as that of Patrice Pavis and Anne Ubersfeld), it would appear that the role of the spectator in the reception of a performance is finally coming into view as an essential aspect …

0364: Oretha Morgan Foard Papers, 1855-1979, Marshall University Special Collections

Guides to Manuscript Collections

Huntington, West Virginia, resident. Papers consist primarily of printed pamphlets, play programs, and travel brochures. Includes some school papers while a student at West Virginia University in the 1920's. The collection as a whole reflects her interests in drama, especially Shakespeare.

Ua1b1 11th All Star Concert Series, Western Kentucky University

WKU Administration Documents

Advertisement for the 11th all star concert series hosted by WKU in 1929-1930. Features singers, musicians and lecturers:

• Estelle Gray-Llevinne
• United States Army Band
• Berger-Steindel-Aster Trio
• Gloria Randolph
• Smallman a Capella Choir
• Ratan Devi
• Chandra Dharma Sena Gooneratne
• Henri Scott
• Charles Boggs
• Melvena Passmore
• Festival Opera Company
• Howard Carman
• William Phillips
• Rhys Morgan

National Traits As Revealed In The Revenge Theme In Tragedy, Hazel Pauline Glaister

University of the Pacific Theses and Dissertations

In the Renaissance drama, revenge is known as a revenge of blood, generally the “eye for an eye” variety of retaliation. The revenge of late periods deals with the return injury directed not only to the body of the opponent but also to his mental discomfort.

It is the aim of this thesis to present the different types of revenge in tragic dramas and by means of them to show how the life, manners, and attitude of the various nationalities are reflected in dramas dealing with this theme.