Performance Studies Commons^™

Moulinet: An Action Quarterly, Volume 1, Issue 2, Moulinet Staff

Moulinet: An Action Quarterly

No abstract provided.

Moulinet: An Action Quarterly, Volume 1, Issue 4, Moulinet Staff

Moulinet: An Action Quarterly

No abstract provided.

The Cutting Edge, January/February 2000, Vol. 11 Issue 1, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cutting Edge, August/September 1999, Vol. 10 Issue 3, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Spring/Summer 1999, Vol. 22 Issue 1, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

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 …

Caroline Sinavaiana-Gabbard's Review Of John Kneubuhl's Think Of A Garden And Other Plays, Caroline Sinavaiana-Gabbard

Pacific Studies

No abstract provided.

Marta Rohatynskyj's Review Of Advertising Missionaries And Pacific Passages, Marta Rohatynskyj

Pacific Studies

No abstract provided.

Contributors: Vol 22 No. 2, The Jonathan Nāpela Center For Hawaiian And Pacific Islands Studies

Pacific Studies

Contributors list of Vol. 22 (1999): Pacific Studies Full Issue 2

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

Pacific Studies

Book Listing for the Vol 22, No 2 Edition of the Pacific Studies Journal

Vol. 22 No. 2 (1999): 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 …

The Cutting Edge, May/June 1999, Vol. 10 Issue 2, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

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 …

Astonish Me! Recalling The Cabaret Spirit, Agnieszka Taborska, Dawn Danby, Ian Freeman, Eric Urban, Hyun Hee Cho, Marin De Charette, Matthew Cottam, Carolyn Gehrig, Matthew Heitel, Aimee Estilow, Sarah Rundlett, Robert Van Varick, Issak Tobin, Antoine Revoy, Lee Savage, Erica Wolf, Kevin Lang, Allison Brabee, Hyun-Suk Kim, Helen Lee, Marco Cimatti, Nicholas Fuhrer

Programs

Program for the 1999 RISD Wintersessoin Cabaret intiated by the "Image and Word" class in collaboration with students of RISD Cabaret 1998 and held at AS220. The presentation was conceived and performed in homage and celebration of past RISD Cabaret shows 1987-1998. Graphic Design: Ron Winter, Ji-Ho Sohn and Eric Urban.

The Cutting Edge, February/March 1999, Vol. 10 Issue 1, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Fall/Winter 1999, Vol. 22 Issue 2, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

“Indians,” “Braves,” And “Redskins”: A Performative Struggle For Control Of An Image, Jackson B. Miller

Faculty Publications

Native American groups across the country have been protesting the use of their symbols and heritage in sports arenas for over a decade. Yet, particularly in the realm of professional sports, these protests have not generated significant changes in attitudes and practices. This critical essay examines several Native American protest events to reveal the factors contributing to the failure of the reform movement and to suggest some strategies for rhetorically reformulating the campaign.

Sex, Violence, And Hand Puppets: History And Structure Of Punch And Judy Performance Tradition, James Robert Davis

Dissertations and Theses @ UNI

Punch and Judy are characters who exist only within the boundaries of the puppet theatre, in performances where characters are portrayed by inanimate figures. Nonetheless, the history of the puppet theatre, and particularly that of Punch and Judy, is closely related to the history of more widely accepted, actor-based theatre, where characters are portrayed by human beings. While the two traditions-share many common elements--such as the importance of characterization, direction, and design--the essential difference between actor-theatre and puppetry is the manner in which the performance is presented. The approach of this study is threefold: first, a linear history of the …

A Fragment From Act Ii Of Giacomo Puccini's La Boheme, Linda B. Fairtile

University Libraries Faculty and Staff Publications

This manuscript transmits ten measures from the so-called "Sextet" in the opera's second act, corresponding to pages 207 (measure 2) through 210 (measure 1) of the current published orchestral score. The passage forms part of the middle section of a tripartite structure that begins and ends with the renowned "Musetta's Waltz" ("Quando m'en vo"). At this point in the plot, the inhabitants of Paris's Latin Quarter, gathering to celebrate Christmas Eve at the Cafe Momus, witness the spectacle of Musetta's successful attempt to win back her lover. The section as a whole presented a problem for Puccini's librettists, who had …

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 …

Performance Theory: «Desde Lo Político A Lo Espectacular: El Caso De Els Joglars», Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

Durante las últimas décadas, en Estados Unidos, España y otras partes del mundo, una de las cuestiones que ha suscitado un mayor grado de reflexión en el mundo teatral, por parte de los artistas tanto como de los teóricos, es la interrogación crítica y radical sobre la relación entre texto dramático y representación. La palabra escrita, tradicionalmente proveniente del dramaturgo e históricamente considerada el locus de autoridad en el teatro, empezó a perder su potencia prescriptiva con respecto al montaje artístico o «puesta en escena». Incluso, en algunas ocasiones, el espectáculo teatral alcanzó un nivel de independencia según el cual …

"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….. …

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 …

The Cutting Edge, November/December 1998, Vol. 9 Issue 5, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

Homage To Catalan Theater: Introduction, Sharon G. Feldman

Latin American, Latino and Iberian Studies Faculty Publications

The Catalan stage is presently experiencing one of the most exciting, dynamic, and extraordinary periods in its modern history. Following decades of contentiousness, there is finally a harmonious rapport between the visually oriented theater of images and the textually oriented theater of the word, between the theater of collective creation and that in which the role of the author is essential. On the whole, the theater of contemporary Catalonia is characterized, not by the provincialism often ascribed to regional minority cultures, but rather by its cosmopolitan, international, and even transnational proclivities. Barcelona, the cultural and political hub of this region, …

The Cutting Edge, August/September 1998, Vol. 9 Issue 4, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Spring/Summer 1998, Vol. 21 Issue 1, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

The Cutting Edge, April/May 1998, Vol. 9 Issue 2, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Cabaret Of Dead Souls: Harvesting Russian History, Agnieszka Taborska, Jake Mahaffy, Szymon Bojko, Gella Alhassid, So-Hee Cheong, Matthew Cottam, Dawn Danby, Lorreine Fedor, Andrew Gardner, Carl Henschel, Michael Hoard, Kevin Lang, Eric Leichner, Michael Libby, April Lin, Pia Restina, Markus Reyes, James Sanders, Nicholas Scappaticci, Brett Shagen, Michael Shih, Aika Tong, Araby Williams

Programs

Program for the eleventh annual RISD Cabaret held in the Cellar at the top of the Waterman Building. Graphic design: Mia Moran, Matt Murphy, James Wynn and Katia Popova.View the Performance Recording.

The Cutting Edge, February/March 1998, Vol. 9 Issue 1, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.