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Articles 31 - 37 of 37
Full-Text Articles in Theatre History
The Other At War: Performing The Spanish-Cuban-American War On U.S. And Cuban Stages, Juan R. Recondo
The Other At War: Performing The Spanish-Cuban-American War On U.S. And Cuban Stages, Juan R. Recondo
Dissertations, Theses, and Capstone Projects
The Spanish-Cuban-American War, declared by the United States on April 25, 1898, marks a colonial shift in the history of the Caribbean and solidified the expansionist thrust of the United States outside national borders. Theatres in turn-of-the-century New York, which at this point was one of the theatrical centers of the nation, debated for audiences the imperialist character of the U.S. The Cuban struggle and the resulting Spanish-Cuban-American War permeated U.S. drama, thereby portraying a Caribbean in need of salvation by the military intervention of the United States. New York stages of the time became locations where various cultural representations …
Theatre Translation As Historiography: Projections Of Greek Self-Identity Through English Translations During The European Crisis, Maria Mytilinaki
Theatre Translation As Historiography: Projections Of Greek Self-Identity Through English Translations During The European Crisis, Maria Mytilinaki
Dissertations, Theses, and Capstone Projects
This project focuses on theatre translation from Modern Greek into English through the examination of three plays translated in the early years of the ongoing Greek crisis (2012-2014). Currently Greek culture is received internationally through two important frames of reference: Hellenism, the admiration for the ancient Greek spirit, and the more recent negative associations with modern Greece provoked by the Eurozone crisis. The three translations I examine challenge these dual external projections onto Greek culture by promoting a more nuanced image that recontextualizes the Greek past. In their capacity to travel between cultures, often in bilingual iterations, these theatrical translations …
Nervous Salomes: New York Salomania And The Neurological Condition Of Modernité, Margaret K. Araneo
Nervous Salomes: New York Salomania And The Neurological Condition Of Modernité, Margaret K. Araneo
Dissertations, Theses, and Capstone Projects
In January 1907, New York City had its first major encounter with the figure of Salome. Appearing on three large stages in the city simultaneously, the archetype of the dancing girl quickly became an object of controversy. Her appearance at the Metropolitan Opera House in its staging of Strauss’s Salome resulted in public debate and the ultimate closure of the performance by the Met’s Board of Directors. The event brought attention to the Salome archetype’s already contested character. Salome arrived in the United States from Europe where she had been the subject of a quarter century of debates about how …
"Propaganda For Democracy": The Vexed History Of The Federal Theatre Project, Karen E. Gellen
"Propaganda For Democracy": The Vexed History Of The Federal Theatre Project, Karen E. Gellen
Dissertations, Theses, and Capstone Projects
My thesis explores and analyzes the Federal Theater Project’s cultural and political impact during the Depression, as well as the contested legacy of this unique experiment in government-sponsored, broadly accessible cultural expression. Part of the New Deal’s Works Projects Administration, the FTP aimed to provide jobs for playwrights, actors, designers, stagehands, and other theater professionals on relief in the stark period from 1935 to 1939. But the project became a nationwide political and artistic flashpoint, spurring fierce debate over the leadership, politics and impact of this “people’s theater.” The FTP gave professional theater an unprecedented reach into working-class and black …
Theatres Of Reality, Fiction, And Temporality: Vegard Vinge And Ida Müller’S Ibsen-Saga (2006 - 2015), Andrew L. Friedman
Theatres Of Reality, Fiction, And Temporality: Vegard Vinge And Ida Müller’S Ibsen-Saga (2006 - 2015), Andrew L. Friedman
Dissertations, Theses, and Capstone Projects
This dissertation examines the influence of modernist aesthetics and ideologies on contemporary, European and U.S. experimental theatre. I argue that modernist and contemporary experimental theatres offer competing notions of reality, fiction, and temporality, which I interrogate through Vegard Vinge and Ida Müller’s Ibsen-Saga. I illuminate this tension by reading current modes of performance against the Saga’s productions and work practices, as well as their aesthetic and ideological foundation in three modernist sources: the artificiality of Ibsen’s realism, the utopianism and totality of Richard Wagner’s Gesamtkunstwerk, and the temporal provocations of the historical avant-gardes. I contend that the …
Economies Of Touring In American Theatre Culture, 1835-1861, Nicole Berkin
Economies Of Touring In American Theatre Culture, 1835-1861, Nicole Berkin
Dissertations, Theses, and Capstone Projects
Employing methods from print and material culture studies, this dissertation explores the economic, social, and cultural dynamics of theatrical touring during a period, 1835-1861, when the ultimate symbols of anxiety over rising industrialization, migration, and urbanization--con artists and prostitutes or "confidence men and painted women"- were associated with both theatre and transportation. I argue that touring was central to the spread of theatre culture and is therefore critical to understanding U.S. popular culture. This project examines how geographic movements, as well as the circulation of extra-theatrical materials like newspapers and photographs, were instrumental not only for performers who attempted to …
Ridiculous Geographies: Mapping The Theatre Of The Ridiculous As Radical Aesthetic, Kelly Aliano
Ridiculous Geographies: Mapping The Theatre Of The Ridiculous As Radical Aesthetic, Kelly Aliano
Dissertations, Theses, and Capstone Projects
This dissertation is a comprehensive study of the artists associated with the Theatre of the Ridiculous. The discussion begins with Charles Ludlam, the most famous practitioner of the form and then extends to artists with whom he collaborated, including Jack Smith, the Play-House of the Ridiculous, Ethyl Eichelberger, and Charles Busch. The argument traces the overlapping aesthetic qualities of all of these theatre practitioners; they all shared a reverence for popular culture of the twentieth century; they all blended references from high and low culture in their dramaturgy; and they all created performances that took a unique approach to cross-dressed …