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Dramatic Literature, Criticism and Theory Commons™
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- Asian theatre (4)
- East asian theatre (4)
- Japanese theatre (4)
- Mask (4)
- Noh (4)
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- Nō (4)
- Plays (4)
- Theatre (4)
- Theatre history (4)
- Costume (3)
- Dance (3)
- Mime (3)
- Theatre costume (3)
- Comparative theatre (2)
- Theatre literature (2)
- Civic engagement; civic education; teaching and learning; active learning; theatre; Bertolt Brecht; drama; civic virtue (1)
- Hamlet (1)
- Kabuki (1)
- LGBTQ (1)
- Queer (1)
- Shakespeare (1)
Articles 1 - 7 of 7
Full-Text Articles in Dramatic Literature, Criticism and Theory
Civic Engagement Through Theatre: Running A Brechtian Workshop In The Classroom, Margot Morgan
Civic Engagement Through Theatre: Running A Brechtian Workshop In The Classroom, Margot Morgan
eJournal of Public Affairs
This study presents an innovative active learning technique to support the development of civic education: a theatrical workshop based on the dramaturgy of Bertolt Brecht. I argue that the Brechtian workshop can develop three skills necessary for effective civic engagement: perspective taking, collaboration, and critical judgment/self-reflection, and that these skills are directly tied to the three civic values of pluralism, community, and civic responsibility. Using qualitative data gathered in the course of teaching this workshop to two distinct student populations — a self-selecting group of students in a liberal arts environment and a group of students at a commuter campus …
In This Harsh World, We Continue To Draw Breath: Queer Persistence In Shakespeare And Hamlet, Beck O. Adelante
In This Harsh World, We Continue To Draw Breath: Queer Persistence In Shakespeare And Hamlet, Beck O. Adelante
Access*: Interdisciplinary Journal of Student Research and Scholarship
Hamlet is one of Shakespeare’s most famous and most often (mis-)quoted works. The central and titular character has likewise been an endless source of academic and artistic inquiry and exploration since nearly the creation of the work itself. However, this paper argues that a crucial and enlightening piece of the puzzle has, until recently, been left unexplored for the most part, considered a frivolous or non-serious pursuit: Hamlet’s and Hamlet’s queerness. Using historical research and evidence, close readings of the text, and examples of recent productions that have taken this element seriously, this paper argues that to fully understand the …
An Introduction To Theatre Of Omniscience, Kierstan K. Conway
An Introduction To Theatre Of Omniscience, Kierstan K. Conway
The Downtown Review
Theatre is an art of infinite possibility and is created and viewed from a variety of different lenses. Throughout history, artistic movements such as realism, surrealism, naturalism, expressionism, romanticism, and many more have influenced the ideologies of theatrical artists. Theatre practitioners make a stake in their artistic beliefs in the form of manifestos, which encapsulate their understanding in an abstract or concrete way. In reading and studying these manifestos, the individual then has the choice to follow suit to a school of thought, or derive their own philosophy. Theatre, in one viewpoint, can be understood as a means of omniscience, …
Mochizuki: History And Context, Michael Watson
Paragons Of Loyalty On The Japanese Stage, J. Thomas Rimer
Paragons Of Loyalty On The Japanese Stage, J. Thomas Rimer
Mime Journal
No abstract provided.
Introducing Genzai Nō: Categorization And Conventions, With A Focus On Ataka And Mochizuki, Diego Pellecchia
Introducing Genzai Nō: Categorization And Conventions, With A Focus On Ataka And Mochizuki, Diego Pellecchia
Mime Journal
No abstract provided.
From Ataka To Kanjinchō: Adaptation Of Text And Performance In A Nineteenth-Century Nō-Derived Kabuki Play, Katherine Saltzman-Li
From Ataka To Kanjinchō: Adaptation Of Text And Performance In A Nineteenth-Century Nō-Derived Kabuki Play, Katherine Saltzman-Li
Mime Journal
Nō techniques and play borrowings provided important infusions into kabuki throughout its history, but in the nineteenth century, a genre of kabuki plays in close imitation of nō or kyōgen wasadded to the kabuki repertoire. The genre came to be called matsubamemono, meaning “[nō/kyōgen-derived kabuki] plays [performed] on a stage with a pine painted on the back wall” or “pine-boardplays.”1 These plays are the focus of this article, in which I first introduce the genre and its place in kabuki history, and then discuss its most famous example, the play Kanjinchō (Hattori 17–40; Meisakukabuki zenshū 181–197; Brandon, The Subscription List …