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Articles 151 - 180 of 184

Full-Text Articles in Performance Studies

Love On - The Life Of A Suicide Survivor: A Performance Autoethnographic Study, Patricia R. Wheeler May 2016

Love On - The Life Of A Suicide Survivor: A Performance Autoethnographic Study, Patricia R. Wheeler

Electronic Theses and Dissertations

Suicide touches the lives of millions of people each year in this country alone, yet conversations about suicide loss and survival after a loss remain taboo and often do not happen. The story I performed for this performance autoethnographic study centers on my life as a survivor of suicide. It provides a starting point for dialog regarding trauma, grief, and suicide loss. The narrative was constructed directly following the sudden death of my father, which had a direct effect on my ability to produce artistic work. The development, staging and performance of the story were altered to account for the …

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Lara Salmon, Thesis Statement, Lara Salmon Mar 2016

Lara Salmon, Thesis Statement, Lara Salmon

CGU MFA Theses

My art brings together materials and ideas inspired by personal experience that do not usually exist side by side. My body is the primary mechanism with which I make work, incidentally making me the subject matter of the work. I use my physical self as an instrument to coalesce and transform other materiality. Through live performance and photographic installations I create tension and balance between crude biology and bright, polished formalism. This body of work focuses on Millennial Feminism and the Middle East.

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Embodied Knowledge And Accessible Community: An Oral History Of ‘Four Rehearsals And A Performance', Liam Oliver Lair, Ashley Mog Jan 2016

Embodied Knowledge And Accessible Community: An Oral History Of ‘Four Rehearsals And A Performance', Liam Oliver Lair, Ashley Mog

Gender Studies Faculty Publications

In this article we discuss how an oral history project emerged through our involvement in a collaborative, creative project at the University of Kansas called Four Rehearsals and a Performance (FRAP). FRAP utilized improvisation in dance and music, bringing together community members across ability to explore how knowledge and community are created. Our analysis explores themes of embodiment, community, and how participants experienced the space of FRAP. We first describe how FRAP became a project, and then we discuss how our oral history project emerged as part of FRAP. After providing specific examples of themes and experiences shared by our …

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Devising Performance & Queer Futurity, Brendan F. Leonard Jan 2016

Devising Performance & Queer Futurity, Brendan F. Leonard

Honors Theses

This project argues that devising performance is an inherently queer and utopian form. In response to recent political movements, such as Occupy Wall Street and Black Lives Matter, which seek to stage dissatisfaction with the systems of late capitalism, I turn to devising performance as a site. Informed by the queer and performance theories of Jose Esteban Munoz, Lee Edelman, and Jill Dolan, I argue that devised theater allows us to process disillusionment, rehearse collectivity, and stage futurity. In conversation with Munoz, I define futurity as an imaginative site that considers what will follow what some scholars suggest will be …

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Living Between The Lines: Intersectionality And Self-Actualization In Shakespeare's Plays, Morgan L. Green Dec 2015

Living Between The Lines: Intersectionality And Self-Actualization In Shakespeare's Plays, Morgan L. Green

Student Scholar Symposium Abstracts and Posters

More than four hundred years after his death Shakespeare is still the most performed playwright in the English-Speaking World, and even in some cultures vastly different from Shakespeare’s England. Theatre companies continue to make him relevant by exploring new themes and tailoring the productions to the social mores of contemporary audiences. One particular theme being examined more and more by both scholars and theatre artists is diversity and the role of identity in Shakespeare’s works. Three works in which this can be easily examined are Antony and Cleopatra, The Merchant of Venice, and Othello with particular attention paid to …

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“Man? Where’S A Man? Don’T Let Him Go!”: Molina’S Trans/Gender Web In Interpretation And Performance, Bella V. Smith Jan 2015

“Man? Where’S A Man? Don’T Let Him Go!”: Molina’S Trans/Gender Web In Interpretation And Performance, Bella V. Smith

Calvert Undergraduate Research Awards

Using perspectives typical of English and theatrical fields of study, this capstone project interprets Molina from Manuel Puig’s 1976 novel Kiss of the Spider Woman as a heterosexual transgender woman and then investigates why such an interpretation does not exist in performance adaptations. Although Molina has been called a transgender woman in recent criticism, there is a conflation of gender and sexuality that has been uninvestigated in this text. It has not been addressed how Molina constructs her identity or how this interpretation might be employed in performance, which this essay seeks to confront. The first half of the project …

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Autotraduction, Traduction Interculturelle Et Intersémiotique Dans La Quarta Via De Kaha Mohamed Aden, Simone Brioni Jan 2014

Autotraduction, Traduction Interculturelle Et Intersémiotique Dans La Quarta Via De Kaha Mohamed Aden, Simone Brioni

Department of English Faculty Publications

No abstract provided.

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Reading With The Grain: On Vin Nardizzi’S Wooden Os: Shakespeare’S Theatres And England’S Trees, Steven Swarbrick Jan 2014

Reading With The Grain: On Vin Nardizzi’S Wooden Os: Shakespeare’S Theatres And England’S Trees, Steven Swarbrick

Publications and Research

No abstract provided.

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Performing Que(E)Ries, Charles Busch, James Wilson Apr 2013

Performing Que(E)Ries, Charles Busch, James Wilson

Center for LGBTQ Studies (CLAGS)

Charles Busch, renowned New York performer, playwright, director, and drag extraordinaire, participated in the second iteration of this new CLAGS series in the Fall. He discussed his astonishing career in the theatre and on film, as well as the changes he has seen in LGBTQ performance over the last four decades in New York and beyond. The conversation was moderated by CLAGS Executive Director James Wilson.

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The Bollywood Item Number: From Mujra To Modern Day Ramifications, Avantika Saraogi Apr 2013

The Bollywood Item Number: From Mujra To Modern Day Ramifications, Avantika Saraogi

Scripps Senior Theses

This thesis deals with the “item number” genre of Bollywood song and dance sequences. I argue that the item song has evolved from a combination of the historically rich culture of prostitution in old India and the western influence of modern times; and that it contributes highly to the male dominated patriarchal society perpetuated by Hindi films by means of the voyeuristic male gaze and objectification of the female body. In conjunction with this research I choreographed a dance called Item No. 3 that was performed in Scripps Dances 2013. A discussion of the significance and decisions behind the …

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The Spirit Of The Spitfire: Creating The Role Of Nancy Shedman In Romulus Linney's "Holy Ghosts", Caleigh M. Keith Dec 2012

The Spirit Of The Spitfire: Creating The Role Of Nancy Shedman In Romulus Linney's "Holy Ghosts", Caleigh M. Keith

LSU New Orleans Theses and Dissertations

This thesis explains the acting method used by Caleigh Keith while portraying the role of Nancy Shedman in Romulus Linney’s Holy Ghosts. Included are chapters of historical research, character analysis, and a production report, which includes a scored script, rehearsal and performance journal, and a self-evaluation of the actor’s work. Holy Ghosts was produced by Theater UNO at the University of New Orleans in the Robert E. Nims Thrust Theater of the Performing Arts Center. It opened Tuesday, February seventh, and ran through Sunday, February twelfth, two thousand and twelve. Evening performances were at seven-thirty and Sunday’s matinee was …

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"Spectacular Opacities": The Hyers Sisters' Performances Of Respectability And Resistance, Jocelyn Buckner Jan 2012

"Spectacular Opacities": The Hyers Sisters' Performances Of Respectability And Resistance, Jocelyn Buckner

Theatre Faculty Articles and Research

This essay analyzes the Hyers Sisters, a Reconstruction-era African American sister act, and their radical efforts to transcend social limits of gender, class, and race in their early concert careers and three major productions, Out of Bondage and Peculiar Sam, or The Underground Railroad, two slavery-to-freedom epics, and Urlina, the African Princess, the first known African American play set in Africa. At a time when serious, realistic roles and romantic plotlines featuring black actors were nearly nonexistent due to the country’s appetite for stereotypical caricatures, the Hyers Sisters used gender passing to perform opposite one another as heterosexual lovers in …

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The Angel And The Imp: The Duncan Sisters’ Performances Of Race And Gender, Jocelyn Buckner Jan 2011

The Angel And The Imp: The Duncan Sisters’ Performances Of Race And Gender, Jocelyn Buckner

Theatre Faculty Articles and Research

From 1923 to 1959 Vivian and Rosetta Duncan performed the show Topsy and Eva in front of thousands of audiences in the United States and abroad. This essay examines how the Duncan Sisters’ appropriation of blackness through a yin and yang performance of black and white womanhood, their sexualized but ultimately infantilizing routine as young girls, and their take on anarchistic comedy resulted in a particular spin on age, gender, race, and sexuality that reinforced their privilege as white women even while it pushed the boundaries of acceptable femininity in the swiftly shifting American culture of the first half of …

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Women & Language: Essays On Gendered Communication Across Media, Melissa R. Ames Jan 2011

Women & Language: Essays On Gendered Communication Across Media, Melissa R. Ames

Faculty Research & Creative Activity

The present volume of essays examines women's communication as it has evolved historically across multiple mediums. Part I explores how women became "gossip girls" and the important role of gossip in the perception and practice of female communication. Essays in Part II cover the convergence of oral and written communication in women's literature. Gendered performance in such arenas as salsa dance, Dr. Phil and the Internet is examined in Part III, and essays in Part IV discuss women's communication in the technology-rich 21st century. This excerpt features the introduction and one essay from the co-editor.

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Women & Language: Essays On Gendered Communication Across Media, Melissa R. Ames Jan 2011

Women & Language: Essays On Gendered Communication Across Media, Melissa R. Ames

Faculty Research & Creative Activity

The present volume of essays examines women's communication as it has evolved historically across multiple mediums. Part I explores how women became "gossip girls" and the important role of gossip in the perception and practice of female communication. Essays in Part II cover the convergence of oral and written communication in women's literature. Gendered performance in such arenas as salsa dance, Dr. Phil and the Internet is examined in Part III, and essays in Part IV discuss women's communication in the technology-rich 21st century. This excerpt features the introduction and one essay from the co-editor.

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Wow Cafe Theater Unveils 30th Anniversary Festival After Three Decades, Fierce Performers Prove The Show Will Go On, Esther Zinn Oct 2010

Wow Cafe Theater Unveils 30th Anniversary Festival After Three Decades, Fierce Performers Prove The Show Will Go On, Esther Zinn

Center for LGBTQ Studies (CLAGS)

WOW Cafe Theater, a collective for female and and trans performance artists, strutted its stuff during its Pearl festival in May by celebrating thirty years of producing risk-taking, genre-defying theatre during the entire month of May 2010. Featuring more than twenty performances and fifty artists spanning a broad spectrum of music, dance, and multi-media, the Pearl festival was arguably the biggest and longest running theatrical event for women in New York during this summer, made possible by a generous grant from the Lower Manhattan Cultural Council.

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Weaving Through Reality: Dance As An Active Emblem Of Fantasy In Performance Literature, Tara Maylyn Frankel Jan 2010

Weaving Through Reality: Dance As An Active Emblem Of Fantasy In Performance Literature, Tara Maylyn Frankel

CMC Senior Theses

Literature uses dance to reveal underlying messages of fantasy through the themes of the central narrative of female characters. Examining the original texts with respect to their varying adaptations for film and stage, performance literature reveals how directors relate a three-dimensional story to an audience from a two-dimensional world. Hans Christian Andersen’s “The Red Shoes” shows an underlying semiotic code where transitioning from the black and white of reality to the red of fantasy is only accomplished through dancing. Oscar Wilde’s Salome displays an eroticization of the exotic solo-improvised dance that provides a semblance of control for the main character. …

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Trying On—Being In—Becoming: Four Women’S Journey(S) In Feminist Poststructural Theory, Donna Kalmbach Phillips, Gennie Harris, Mindy Legard Larson, Karen Higgins Jan 2009

Trying On—Being In—Becoming: Four Women’S Journey(S) In Feminist Poststructural Theory, Donna Kalmbach Phillips, Gennie Harris, Mindy Legard Larson, Karen Higgins

Faculty Publications

This is the narrative of four women in academia spanning a ten-year relational journey. As a performance collaborative autoethnography, it explores and presents theories of subjectivity and transitional space. Through journals, emails, and dialogue we are trying on, being in, and becoming feminist poststructural thinkers/inquirers/teacher educators. In our work, we explore: How has theory changed our subjectivity, lived experiences and relationships, and moved us from comfortable spaces of knowing to uncomfortable places of becoming? In a series of poetry and performance narratives, we chart our own linked journey(s) in pursuing these questions. As autoethnographers, we grapple with meanings …

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Ibsen’S Female Characters In Captivity: An Exploration Of Literature And Performance, Christina K. Forshey Dec 2008

Ibsen’S Female Characters In Captivity: An Exploration Of Literature And Performance, Christina K. Forshey

Senior Honors Theses

In Henrik Ibsen’s plays, A Doll’s House, The Wild Duck, The Lady from the Sea, and Hedda Gabler, the theme of captivity is demonstrated in the female protagonists Nora, Hedvig, Ellida, and Hedda. The theme of captivity also serves as a performance guide for the portrayal of these characters. Ibsen’s female protagonists are in bondage to an object or person that manipulates the character’s mental and emotional senses. The character’s inner captivity reaches a climax where a decision must be made to abolish the chains of captivity or forever remain enslaved. Since the nineteenth century, the actor has greatly benefitted …

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Female Agency And Oppression In Caribbean Bacchanalian Culture: Soca, Carnival, And Dancehall, Kevin Frank Apr 2007

Female Agency And Oppression In Caribbean Bacchanalian Culture: Soca, Carnival, And Dancehall, Kevin Frank

Publications and Research

In this essay Kevin Frank discerningly analyzes agency and gender in public sexual performances emanating out of what Paul Gilroy identifies as part of the compensatory politics of the subordinated within Black Atlantic culture, Jamaican dancehall (dancehall reggae/ dancehall queens).

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'Listen, Rama’S Wife!’: Maithil Women’S Perspectives And Practices In The Festival Of Sāmā-Cakevā, Coralynn V. Davis Jan 2005

'Listen, Rama’S Wife!’: Maithil Women’S Perspectives And Practices In The Festival Of Sāmā-Cakevā, Coralynn V. Davis

Faculty Journal Articles

As a female-only festival in a significantly gender-segregated society, sāmā cakevā provides a window into Maithil women’s understandings of their society and the sacred, cultural subjectivities, moral frameworks, and projects of self-construction. The festival reminds us that to read male-female relations under patriarchal social formations as a dichotomy between the empowered and the disempowered ignores the porous boundaries between the two in which negotiations and tradeoffs create a symbiotic reliance. Specifically, the festival names two oppositional camps—the male world of law and the female world of relationships—and then creates a male character, the brother, who moves between the two, loyal …

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Remembering Beyond The Self: Crossing Borders 2001, Jill Dolan Jul 2001

Remembering Beyond The Self: Crossing Borders 2001, Jill Dolan

Center for LGBTQ Studies (CLAGS)

In a passionate keynote address at the third in CLAGS's series of "Crossing Borders" conferences, Cherríe Moraga called on conference participants to "hold the pussy in public," to join otherwise isolated Latina/o artists in bringing racialized queerness into public debate. Presented at the University of Texas at Austin in February, "Crossing Borders 2001: U.S. Latina/o Queer Performance" was linked by its coalitional politics around race and ethnicity—broadly figured as latinidad—and gender and sexuality. This three-day gathering was sponsored by CLAGS through a generous gift from the Michael C.P. Ryan Estate and co-sponsored by the Center for Dramatic and Performance Studies …

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Dancing Boys, Anthony Shay Jan 2000

Dancing Boys, Anthony Shay

Pomona Faculty Publications and Research

The informal, and occasionally formal, institution of the dancing boy--the term used by most Western writers in their descriptions of the Islamic world--has been attested for centuries by European observers throughout the Middle East, North Africa, and Central Asia, as well as the Indian subcontinent and throughout the Islamic areas of Southeast Asia such as Indonesia and the southern Philippines. These individuals have been called by a variety of names: bachchec [batcha], literally "child" in Persian and some Turkish languages, luti (itinerant performer), raqqas (dancer) in many regions, kocek (little) and tavsan (rabbit) in Ottoman Turkey, khawal in …

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Toward Historizing Gender In Polynesia: On Vilsoni Hereniko’S Woven Gods And Regional Patterns, Jeannette Marie Mageo Mar 1999

Toward Historizing Gender In Polynesia: On Vilsoni Hereniko’S Woven Gods And Regional Patterns, Jeannette Marie Mageo

Pacific Studies

This article considers possible parallels between Rotuman and Samoan gender history through Vilsoni Hereniko’s book Woven Gods. Hereniko draws upon the work of Victor Turner to analyze his Rotuman data, arguing that wedding clowns reverse normative social structures. Wedding clowns are expert female practitioners of Rotuman joking discourse. This discourse is not only ritualized on special occasions but is also an everyday informal discourse and, I argue, is in this sense normative; it counterbalances respect discourse, which is likewise practiced in ritual (ceremonial) contexts but also in everyday polite contexts. In the Samoan precolonial sex-gender system, males and females had …

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A Good Country Gentlewoman: Catherine Clive's Epistolary Autobiography, Joallen Bradham Jul 1996

A Good Country Gentlewoman: Catherine Clive's Epistolary Autobiography, Joallen Bradham

Faculty Articles

Unable to play the gentlewoman on stage, Catherine Clive lived the part in retirement. Her letters document the days and ways of the gentlewoman, Clive's need to assume the role, and the actress's awareness that she performs. In all details, Clive's gentlewoman conforms to contemporary expectations of that figure.

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Vol. 17 No. 3 (1994): Pacific Studies Front Matter, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies Sep 1994

Vol. 17 No. 3 (1994): Pacific Studies Front Matter, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies

Pacific Studies

Pacific Studies is published two times a year by The Jonathan Nāpela Center for Hawaiian and Pacific Studies, Brigham Young University Hawai‘i #1979, 55–220 Kulanui Street, Lāʻie, Hawai‘i 96762, but responsibility for opinions expressed in the articles rests with the authors alone. Subscription rate is US$40.00 yearly, payable to The Jonathan Nāpela Center for Hawaiian and Pacific Studies. The Jonathan Nāpela Center for Hawaiian and Pacific Studies (formerly The Pacific Institute) is an organization funded by Brigham Young University Hawai‘i. The Center assists the University in meeting its cultural and educational goals by undertaking a program of teaching, research, and …

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Vol. 17 No. 3 (1994): Pacific Studies Full Issue, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies Sep 1994

Vol. 17 No. 3 (1994): Pacific Studies Full Issue, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies

Pacific Studies

Pacific Studies is published two times a year by The Jonathan Nāpela Center for Hawaiian and Pacific Studies, Brigham Young University Hawai‘i #1979, 55–220 Kulanui Street, Lāʻie, Hawai‘i 96762, but responsibility for opinions expressed in the articles rests with the authors alone. Subscription rate is US$40.00 yearly, payable to The Jonathan Nāpela Center for Hawaiian and Pacific Studies. The Jonathan Nāpela Center for Hawaiian and Pacific Studies (formerly The Pacific Institute) is an organization funded by Brigham Young University Hawai‘i. The Center assists the University in meeting its cultural and educational goals by undertaking a program of teaching, research, and …

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Contributors: Vol 17 No. 3, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies Sep 1994

Contributors: Vol 17 No. 3, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies

Pacific Studies

Contributors list of Vol. 17 (1994): Pacific Studies Full Issue 3

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Books Received And Book Notices, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies Sep 1994

Books Received And Book Notices, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies

Pacific Studies

Book Listing for the Vol 17, No 3 Edition of the Pacific Studies Journal

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Vol. 16 No. 1 (1993): Pacific Studies Full Issue, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies Mar 1993

Vol. 16 No. 1 (1993): Pacific Studies Full Issue, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies

Pacific Studies

Pacific Studies is published two times a year by The Jonathan Nāpela Center for Hawaiian and Pacific Studies, Brigham Young University Hawai‘i #1979, 55–220 Kulanui Street, Lāʻie, Hawai‘i 96762, but responsibility for opinions expressed in the articles rests with the authors alone. Subscription rate is US$40.00 yearly, payable to The Jonathan Nāpela Center for Hawaiian and Pacific Studies. The Jonathan Nāpela Center for Hawaiian and Pacific Studies (formerly The Pacific Institute) is an organization funded by Brigham Young University Hawai‘i. The Center assists the University in meeting its cultural and educational goals by undertaking a program of teaching, research, and …

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