Dramatic Literature, Criticism and Theory Commons^™

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.

Rodrigo García's Ruins, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Haunted by the spirits of the avant-garde, the work of Rodrigo García embraces a hybrid theatrical language that is at once profoundly rooted in the aesthetic tendencies of performance, installation art, and text-based drama. García, a playwright, director, designer, and video and installation artist of Spanish nationality, was born in Buenos Aires in 1964. Since the mid-1980s, he has lived in Madrid, a city that has served as a laboratory for his company La Carnicería, which he founded in 1989. A runner-up for the Marqués de Bradomín Prize on two consecutive occasions (for Reloj and Macbeth-lmágenes), García has staged his …

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 …

La Fragilitat Del Paisatge, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Dins de la galáxia teatral formada per estrelles de grans i petites dimensions que és l'escena catalana contemporània, Josep M. Benet i Jornet (Barcelona, 1940) és com un cometa; no un d'aquells estels fugaços que apareix en una de les seves obres més reeixides (Fugaç, 1992), sinó com un cometa la trajectória creativa del qual ha estat marcada per un procés constant d'evolució i renovació estètiques, un cometa que ha deixat una lluïssor indeleble, que li ha permès d'omplir el buit entre generacions. Es podria afirmar que Benet i Jornet és el dramaturg en vida més eminent i …

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 …

The Carnival King, Ian Kilroy

Books/Book Chapters

A play in two acts. A macabre farce about murder and the search for justice during carnival time.

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) …

The Miser, Otterbein University Theatre And Dance Department

1997-1998 Season

The plot concerns the classic conflict of love and money. The miser Harpagon wishes his daughter Elise to marry a wealthy old man, Anselme, who will accept her without a dowry, but she loves the penniless Valère. www.britannica.com

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.

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 …

Agustín Gómez-Arcos's Diálogos De La Herejía And The Deconstruction Of History, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

In 1962, Agustín Gómez-Arcos, a young dramatist, still new to the Madrid theater scene, won his first Premio Nacional Lope de Vega for the historical drama Diálogos de la herejía. Yet almost immediately, the prize was swept from his hands in a wave of controversy, annulled in a blatant gesture of censorship that signified the Franco Regime's official response to his unorthodox choice of thematic material, and consequently banned the play from the stages of Spain's state-supported teatros nacionales. Set amid the sacrificial flames of the Spanish Inquisition, Diálogos de la herejía portrays the turmoil and hysteria that rock a …

Optimism In The Drama Of William Saroyan, Joyce Ross

Morehead State Theses and Dissertations

A thesis presented to the faculty of the School of Humanities at Morehead State University in partial fulfillment of the requirements for the Degree of Master of Arts by Joyce Ross in May of 1972.

The Epic Theater Of Bertolt Brecht, Robert Julien Lacampagne

University of the Pacific Theses and Dissertations

A completely new idea in any field of artistic endeavor is a rare phenomenon and is, in most instances, worthy of study. Bertolt Brecht, in his theories, writings, and productions, has given the world a theater that is the antithesis of present-day theatrical aims and ideals. It is to the study of this new form of theater that this thesis is devoted.

A Historical Survey And Evaluation Of The Most Prominent Theories That Shakespeare Did Not Write The Works Attributed To Him, Lola Vida Johnson

University of the Pacific Theses and Dissertations

The question of the authorship of the plays, poems, and sonnets traditionally attributed to the pen if William Shakespeare of Stratford-on-Avon has now been before the public for over one hundred years. Many of the most noted poets, playwrights, and nobles of the sixteenth and seventeenth centuries have been assigned the authorship of these works. The controversy can be compared to the controversy over Homer’s authorship. In 1975, Friederick Augustus Wolf proposed that Homer did not write The Iliad and The Odyssey. By 1900, Wolf had been disproven, but the question was one of great importance when it was first …

A Comparison Of The Nineteenth And Twentieth Century Criticism Of Shakespeare's Heroines, Grace Mcleod Gartman

University of the Pacific Theses and Dissertations

The nineteenth century critics appraised Shakespeare's heroines by standards different from those of the twentieth; consequently the two ages reached different conclusions. The purpose of this paper is to point out just what these differences are.

A paper of this scope had to be narrowed in some ways. Otherwise a formidable array of heroines would have been enumerated, but little depth of research could have been shown. In the general conclusion the result would have been the same, as I have discovered through wide reading. To limit the subject only the most famous heroines could be included. The process of …

An Analysis Of Production Procedures In The Stage Play Harriet, Harold Harvey Ulrici

University of the Pacific Theses and Dissertations

It is the purpose of this thesis to present the research, planning, and actual production procedures of the play entitled Harriet, as written by Florence Ryerson and Colin Clements. This is the production which was originally done by Gilbert Miller at Henry Miller's Theatre in 1943 with Miss Helen Hayes in the title role.

The Technique Of Shakespeare's Early Comedies, Mary Alice Procissi

Bachelors’ Theses

In this thesis I have attempted to trace the dramatic technique of the early comedies of Wiilliam Shakespeare. As a setting for the development of my thesis, "The Technique of Shakespeare's Early Comedies" I have given a brief history of the rise of the Shakespearean drama, showing the relation of the early dramatists to Shakespeare as a writer of comedy, including also a sketch of the Elizabethan theatre. Under the definition of the term technique, I include chiefly a division of his plays into acts and scenes, character drawing, source of plot and treatment of plot.

Jealousy In Shakespeare's Tragedies, Harold M. Kimball

University of the Pacific Theses and Dissertations

In undertaking a study of the theme of jealousy, one must make some limitation of material. The field of literature as a whole, or the more limited ones of drama or even tragedy - each of these is too large for so short a study as this must be. Only certain aspects of such a restricted subject as the tragedies of Shakespeare can be given any thorough treatment, while others, both interesting and profitable, must be put aside; for instance, space will prohibit a careful comparison of Shakespeare's use of jealousy with that of other dramatists; nor can a study …

The Function Of The Comedians In Shakespeare's Plays, Louise Elizabeth Tennessen

Bachelors’ Theses

There is an old adage, "It takes a wise man to make a fool", which is familiar to most of us, but the full significance of the proverb will be comprehended only after reviewing several plays in which the fools carry prominent parts. Tracing the history of the court fool back to the early and middle ages, it has been found that it was customary tor a monarch, prince or a powerful noble to have in his retinue a fool or jester, whose office it was to entertain his master and courtiers. He enjoyed privileges and liberties denied the higher …