Earth Matters on Stage: Ecology and Environment in American Theater By Theresa J. May. Abingdon, Oxon and New York: Routledge, 2021; pp. xv + 294. $160 cloth, $44.95 paper, $44.95 e-book.

2021 ◽  
Vol 62 (2) ◽  
pp. 242-244
Author(s):  
Courtney Ryan
Author(s):  
Blair Best ◽  
Madeleine G. Cella ◽  
Rati Choudhary ◽  
Kayla C. Coleman ◽  
Robert Davis ◽  
...  

This essay co-authored by Robert Davis and his students in a theater class at New York University describes the interdependence of close and distant reading practices in their creation and analysis of a representative corpus of nineteenth-century drama. With irregular scholarly and theatrical attention given to nineteenth-century American theatre, the archive of plays and productions is frustratingly fragmented with few playbooks and only limited accounts of their staging. This chapter demonstrates how students used corpus linguistic and spatial analysis tools like Voyant, Antconc, and Tagxedo to recover a neglected century of American theater. Students found that the use of digital tools to perform text analysis, mapping, and network visualization sparked new scholarly ideas about nineteenth-century theatre.


2005 ◽  
Vol 46 (2) ◽  
pp. 349-351
Author(s):  
Christopher Olsen

David Crespy's account of Off-Off Broadway's roots in New York City is a welcome addition to a growing body of scholarship on this vibrant period in American theatre history. Many authors writing on this era have limited themselves to focusing on particular theatre groups, such as the Living Theatre, Café Cino, and the Open Theatre, or on the work of specific playwrights, such as Maria Irene Fornés, Sam Shepard, and Edward Albee. More historical accounts are needed to examine a cross section of theatre practitioners in the context of the political and artistic movements of the 1960s. Crespy has managed to do this to some degree, and has even convinced the elusive Edward Albee to write a foreword.


Slavic Review ◽  
1965 ◽  
Vol 24 (2) ◽  
pp. 189-214 ◽  
Author(s):  
H. B. Segel

Let Peary seek his Arctic goal;His countrymen prefer a PoleLess brumal and uncertain;And Roe and Howells the prolixMust bow to Henry Sienkiewicz,Democratized by Curtin.Anonymous, "Columbus Sienkiewicz,"The Outlook, New York,March 12, 1898The subject of Henryk Sienkiewicz and America is hardly exhausted with the acknowledgment of the enormous popularity of Quo Vadis in the United States. Sienkiewicz himself visited America in 1876, in fact traveled extensively through the country and recorded his impressions at some length in his Listy z Ameryki (Letters from America), a large part of which was translated into English and published in 1959. Sienkiewicz's relations with Helena Modrzejewska (Modjeska) and her debut in the American theater at the time of his visit add to the interest of his sojourn in the United States. Another phase of Sienkiewicz's relations with this country embraces the fascinating career of his American translator, Jeremiah Curtin, whose name remains as intimately linked with translations from Polish literature, particularly the works of Sienkiewicz, as Constance Garnett's has been with English renditions of the Russian masters of the nineteenth century.


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