Performance Studies Commons^™

Iran, Anthony Shay

Pomona Faculty Publications and Research

As the locale for one of the oldest continuing cultural, linguistic, and ethnic entities, Iran provides archaeological evidence for dance portrayed on Mesopotamean pottery dated to 5000 BCE (Zoka', 1978). Evidence for continuing choreographic activity is documented in the historical writings of foreigners, from biblical times to ancient Greece to the Persian and Ottoman empires. Iconographic artworks showing dance also exist, such as silver objects from the Sasanian period (224-650 CE) and Persian miniatures from the twelfth century. Iran is, and most likely has always been, a place of immense ethnic and linguistic diversity, a continental crossroad open to influences …

Afghanistan, Anthony Shay

Pomona Faculty Publications and Research

A very conservative Islamic country, Afghanistan lies on the eastern edge of the Middle East, to the west of Pakistan and India. Afghanistan is at the confluence of Iranian, Central Asian, and Indian cultural currents, and most groups within Afghanistan have ethnic ties across the borders. Indian elements are the least felt, but the rhythmic footwork of some solo dancing is highly reminiscent of classical Indian traditions. A variety of ethnic and linguistic groups, each with its own choreographic tradition, reflects Afghanistan's enormous cultural diversity. Its dance traditions, however, are scarcely documented. As in most Islamic countries, dancers are paid …

The Cutting Edge, June/Jule 1998, Vol. 9 Issue 3, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

Danse Du Ventre, Anthony Shay

Pomona Faculty Publications and Research

Danse du ventre (also called belly dance or danse orientale) most probably derived its name from one or both of two sources: (1) a corruption of the Arabic raqs al-baladi, meaning "dance from the countryside," and (2) a reference to the highly developed movement articulations of the torso and abdomen, which are the most characteristic movement practices of this widespread dance genre. Arabs outside Egypt often call it raqs al-sharq ("Oriental dance") or raqs al-misri ("Egyptian dance"), underscoring the widespread notion that this dance tradition originated in ancient Egypt. No historical documentation exists for the origins of …

Arabian Peninsula, Anthony Shay

Pomona Faculty Publications and Research

The regional dances of the vast but sparsely populated peninsula that includes Saudi Arabia, the Gulf states and emirates, and Yemen are--due to political, religious, economic, and other reasons of access--among the least studied. Historically, the gulf region is one of the most ancient marketplaces, with traders from India, Mesopotamia, Africa, and the Arabian hinterland meeting here for centuries. Influences from all these groups may be discerned in the dancing.

Kurdish Dance, Anthony Shay

Pomona Faculty Publications and Research

The Kurds are a nomadic people whose homeland (Kurdistan) and population (of some 10 million) are now divided among mountainous rural regions of Syria, Turkey, Iran, Iraq, and Armenia; small numbers live in Israel and the Republic of Georgia, (and a separatist movement is headquartered in Paris, France). They speak an Iranian (a Persian) language, and some believe them to be the descendants of the ancient Medes. Without a state of their own, the Kurds place great importance on such cultural forms and identity markers as dancing.

Lebanon, Anthony Shay

Pomona Faculty Publications and Research

In many respects, Lebanon is unique among the Arab states of the Middle East, and this uniqueness is reflected in its dance traditions, particularly in the number of professional performances given. Lebanon is a country more urban than rural, although most residents of Beirut, its capital, have some village relations or associations. Because the nation is small, no village is more than a few miles from Beirut or from such urban centers as Sidon or Tripoli. Lebanon's population is highly educated, and nomads (bedouins) account for only a miniscule percentage. The country's many religious groups and sects--mainly Christian and Islamic--seem …

The Fight Master, Fall/Winter 1998, Vol. 21 Issue 2, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

The Cutting Edge, August/September 1997, Vol. 8 Issue 3, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Spring/Summer 1997, Vol. 20 Issue 1, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

Caged Gorillas, Sandra Dee Holcombe

Institute for the Humanities Theses

I wrote a full-length comedy/drama for the stage. My purpose in writing this play was to show how people deal with life in their quest for freedom. The play is set in the present, the morning of Christmas Eve, in Norfolk, Virginia. The characters are mildly to extremely eccentric, and the major story line deals with a woman who traps her husband in his mall candy shop. Subplots include the mother waiting for her kidnapped Baby Jesus to return, finding a dead mouse, and freeing a caged mall zoo gorilla.

The Cutting Edge, April/May 1997, Vol. 8 Issue 2, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

Analysis, Interpretation And Performance Of The Concerto For Violin And Orchestra By Samuel Barber, Elizabeth Ruth Flood

Undergraduate Honors Thesis Collection

In the twentieth century there has been much diversity and multiplicity in the musical world. Tonal and rhythmic realms have been redefined by many composers, some who were concerned with preserving beauty in their aural landscapes and some who deemed it an inessential part of the musical experience. In this compositional sphere, Samuel Barber was a composer who continued the Romantic tradition handed down to him, while adding to it aspects of contemporary musical culture. In all of his writing, Barber's highest musical aim was expression of emotion, and the variety of compositional techniques he employed were used to serve …

The Cutting Edge, March/April 1997, Vol. 8 Issue 1, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Beat Generation, Agnieszka Taborska, Paula Hunter, Steven L. Jobe, James O. Barnhill, Helen Lee, Joshua Waldman, Nishira Fitzgerald, Brendan Meilman, Ismael Lawall, Zach Pitt-Smith, Kevin Walker, Tamara Carroll, Rhon Porter, Maleese Schick, Rhody Azcueta, Kevin Umbricht, Matthew Curry, Jee-Eun Kim, Michelle Lee, Marisa Nealon, Karelle Levi, Hilary Riley, Simon Potter, Antoinette Le Vaillant

Programs

Program for the tenth annual RISD Cabaret held in the Waterman Building, top floor coinciding "with the fiftieth anniversary of the year when Allen Ginsburg, William Burroughs and Jack Kerouac first met and started a movement which changed the face of postwar American and influenced the 1960s as well as the subculture of the '70s and '80s." Program, poster and tickets designed by Antoinette le Vaillant. View the Performance Recording.

The Violin Director And Verdi's Middle-Period Operas, Linda B. Fairtile

University Libraries Faculty and Staff Publications

The operas of Verdi provide an excellent laboratory for studying the transition from violin director to conductor. By the mid 1860s, some two dozen of his works had been presented hundreds of times throughout Italy. Information on many of these performances is currently available in periodicals, theater histories, and other chronicles. In addition, the American Institute for Verdi Studies (AIVS) has microfilmed over sixty documents that offer a unique perspective on the role of the violin directors, namely, the parts from which they performed. These parts are enlightening both for what they contain and what they omit, suggesting in greater …

0657: Maureen B. Milicia Papers, 1960-1996, Marshall University Special Collections

Guides to Manuscript Collections

This collection consists of a scrapbook, newspaper clippings, correspondence, play programs, West Virginia Theatre Conference materials, technical notes for staging an unidentified play, tests for theatre courses, a resume/CV, and other items related to Maureen B. Milicia’s years as director of University Theater. The scrapbook includes programs, clippings, some correspondence, and several signed copies of a photograph of Milicia for her birthday.

The Cutting Edge, September/October 1996, Vol. 7 Issue 3, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Spring/Summer 1996, Vol. 19 Issue 1, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

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.

Musings On A Visit To Beirut, Abe J. Bassett

Theatre Faculty Publications

Abe Bassett, Professor Emeritus in the Department of Theater, Dance, and Motion Pictures, reflects on his trip to Beirut, Lebanon in 1996.

The July Festival In The Marquesas Islands: “Youth” And Identity In A Valley Community, Mary Martini

Pacific Studies

No abstract provided.

Ubu Roi, Agnieszka Taborska, Sylvie Toux, Joseph Silva, Marisa Nealon, Jeremy Siew, Matt Desmith, Helen Lee, Roslyn Wiria, Janine L. Burt, Matt Moreau, Jessica Guarino, Kathy Leung, Jennifer Norton, Mutsuko Kasai, Raoul Kim, Simon Potter, Jenny Tu, Pei-Ju Chuang

Programs

Program for the nineth annual RISD Cabaret held in the Waterman Building commemorating the 100th anniversary of the premier of Alfred Jarry's 1896 play, "Ubu Roi". Graphic design: Matt DeSmith and Vivian Law.View the Performance Recording.

The Cutting Edge, January/February 1996, Vol. 7 Issue 1, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Fall/Winter 1996, Vol. 19 Issue 2, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

The Cutting Edge, October/November 1995, Vol. 6 Issue 5, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Fall 1995, Vol. 18 Issue 3, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

The Cutting Edge, July/August 1995, Vol. 6 Issue 4, The Society Of American Fight Directors

The Cutting Edge

No abstract provided.

The Fight Master, Summer 1995, Vol. 18 Issue 2, The Society Of American Fight Directors

Fight Master Magazine

No abstract provided.

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.