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Full-Text Articles in Dramatic Literature, Criticism and Theory
“It Ain't Right And It Ain't Natural”: Climate Change In Anaïs Mitchell’S Hadestown, Dean Schmit
“It Ain't Right And It Ain't Natural”: Climate Change In Anaïs Mitchell’S Hadestown, Dean Schmit
Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal
This paper examines the portrayal of climate change across three versions of Anaïs Mitchell’s musical Hadestown by focusing on the lyrics of the show. It works to historicize the growing focus on climate change — as opposed to the changing of the seasons — between 2010 and 2019. The setting of the show shifts away from a post-apocalyptic Great Depression and towards a near-future as Americans began to feel more threatened by severe weather caused by climate change; it was no longer an entirely abstract problem. The show consistently emphasizes the helplessness of the characters as Orpheus always turns around, …
Revolutionary Artistry-- Brecht, Marx, And The Evolution Of Epic Theatre, Wyatt Anderson
Revolutionary Artistry-- Brecht, Marx, And The Evolution Of Epic Theatre, Wyatt Anderson
Honors Capstone Projects
Playwrights have long drawn inspiration from a variety of muses in order to flesh out their works. The use of art and literature to critique society presents one such example, especially with regard to theatre when it critiques politics and human nature. In the case of German playwright Bertolt Brecht, one cannot fully understand his plays and the concept of epic theatre without looking at the influence of Marxism in his work. Indeed, it permeates his work through the years, with Brecht’s understanding of Marx’s writings evolving with clarity in his later works. Through sampling a variety of plays from …
They Said, She Said: Making The Case For Rape In Fuenteovejuna, Stacey L. Parker Aronson
They Said, She Said: Making The Case For Rape In Fuenteovejuna, Stacey L. Parker Aronson
Spanish Publications
Despite the allegations of a number of literary critics to the contrary, textual and cultural evidence exists in Lope’s Fuenteovejuna to suggest that Laurencia was indeed raped. First, a consideration of her physical appearance is in order. Second, an overlooked comment by Jacinta evidences Laurencia’s rape. Third, the quality attributed to Laurencia, namely her virtue, should be understood within its socio-historical context during the early modern period, its understanding superseding an exclusively sexual meaning. Finally, this drama can be considered in light of its adherence to and subversion of what Wendy S. Hesford terms “rape scripts.”