The Théâtre du Soleil, Part One: a Brief History of the Company

1986 ◽  
Vol 2 (7) ◽  
pp. 195-203
Author(s):  
Adrian Kiernander
Keyword(s):  
Comparative Literature ◽  
English Language ◽  
Helene Cixous ◽  
Present Position ◽  
Cornell University ◽  
Doctoral Candidate ◽  
Current Production ◽  
History Of ◽  
Theatre Studies ◽  
The University

In spite of the international acclaim for its spectacular productions of the early 'seventies, the Théâtre du Soleil has generally received less than adequate attention in English-language theatre journals. The original series of Theatre Quarterly included a lengthy interview with its leading member, Ariane Mnouchkine, focused upon its then-current production, L'Age d'or, in TQ18 (1975), and we now bring the story up to date – first, with a survey of the company's earlier work and its distinctive qualities by Adrian Kiernander, who recently spent a year with the Théâtre du Soleil on a French government scholarship, between working as a freelance director and his present position teaching theatre studies in the University of Queensland. Two complementary studies of the company's most recent production follow. In the first, Adrian Kiernander places The Terrible but Unfinished History of Norodom Sihanouk, King of Cambodia, within the context of his preceding analysis. In the second, David Graver, a doctoral candidate in the Department of Comparative Literature at Cornell University, and presently a Visiting Scholar at Clare Hall, Cambridge, describes and assesses the nature and qualities of the script by Hélène Cixous, as realized in the production.

Leiomyoma of the Male Urethra

2000 ◽  
Vol 124 (2) ◽  
pp. 302-303 ◽  
Author(s):  
Jose L. Mira ◽  
Guang Fan
Keyword(s):  
Urethral Stricture ◽  
English Language ◽  
Medical Literature ◽  
Medical Center ◽  
Male Urethra ◽  
Surgical Specimen ◽  
Cord Injury ◽  
History Of ◽  
The University ◽  
Epithelioid Leiomyoma

Abstract We describe the case of a 48-year-old quadriplegic black man with history of C4-C5 cervical spine and cord injury secondary to a fall, who presented to the University of Cincinnati Medical Center Urology Service with obstructive symptoms at urination. A bulbous urethral stricture was diagnosed and subsequently resected with primary urethral reanastomosis. On pathologic examination, the surgical specimen contained an epithelioid leiomyoma at the site of the urethral stricture. Although leiomyomas of the female urethra are relatively common, we identified only 2 previously reported cases of leiomyomas of the male urethra in the English-language medical literature. To the best of our knowledge, we describe the third case of leiomyoma of the male urethra, the first of the epithelioid type.

Erin Espelie

2019 ◽  
pp. 275-294
Author(s):  
Scott MacDonald
Keyword(s):  
New York ◽  
Digital Technologies ◽  
Cornell University ◽  
Avant Garde ◽  
University Of Colorado ◽  
Lanthanide Series ◽  
The Arts ◽  
Short Films ◽  
History Of ◽  
The University

Artist/scientist Erin Espelie was trained at Cornell University as a biologist, but turned down opportunities to study biology at the graduate level at Harvard and MIT in order to explore the New York City theater scene, before finding her way into independent, “avant-garde” filmmaking, first exploring her interests in biology and the history of science in a series of short films, then producing the remarkable essay-film The Lanthanide Series (2014), which explores the importance of the “rare earths” (the elements with atomic numbers 57–71) for modern communication and informational technologies. The imagery for The Lanthanide Series was recorded, almost entirely, off the reflective surface of an iPad. In her work as a moving-image artist, Espelie combines poetry, science, environmental politics, and modern digital technologies within videos that defy traditional knowledge categories. She is currently editor in chief for Natural History magazine and a director of the NEST (Nature, Environment, Science & Technology) Studio for the Arts at the University of Colorado-Boulder.

scholarly journals ‘Out Vile Jelly’: Sarah Kane's ‘Blasted’ and Shakespeare's ‘King Lear’

2004 ◽  
Vol 20 (1) ◽  
pp. 69-78 ◽  
Author(s):  
Graham Saunders
Keyword(s):  
King Lear ◽  
Senior Lecturer ◽  
The Past ◽  
Radical Structure ◽  
Dramatic Form ◽  
History Of ◽  
Theatre Studies ◽  
Sarah Kane ◽  
Contemporary Reality ◽  
The University

Sarah Kane's notorious 1995 debut, Blasted, has been widely though belatedly recognized as a defining example of experiential or ‘in-yer-face’ theatre. However, Graham Saunders here argues that the best playwrights not only innovate in use of language and dramatic form, but also rewrite the classic plays of the past. He believes that too much stress has been placed on the play's radical structure and contemporary sensibility, with the effect of obscuring the influence of Shakespearean tradition on its genesis and content. He clarifies Kane's gradually dawning awareness of the influence of Shakespeare's King Lear on her work and how elements of that tragedy were rewritten in terms of dialogue, recast thematically, and reworked in terms of theatrical image. He sees Blasted as both a response to contemporary reality and an engagement with the history of drama. Graham Saunders is Senior Lecturer in Theatre Studies at the University of the West of England, Bristol, and author of the first full-length study of Kane's work: ‘Love Me or Kill Me’: Sarah Kane and the Theatre of Extremes (Manchester University Press, 2002). An earlier version of this article was given as a paper at the ‘Crucible of Cultures: Anglophone Drama at the Dawn of a New Millennium’ conference in Brussels, May 2001. Saunders is currently working on articles about Samuel Beckett and Edward Bond.

Teaching the History of Technical Communication: A Lesson with Franklin and Hoover

2003 ◽  
Vol 33 (1) ◽  
pp. 65-81 ◽  
Author(s):  
Jeff Todd
Keyword(s):  
Technical Communication ◽  
English Language ◽  
Industrial Revolution ◽  
Technical Writing ◽  
Benjamin Franklin ◽  
Teaching History ◽  
Before And After ◽  
History Of ◽  
The Difference ◽  
The University

The first part of this article shows that research in the history of technical communication has increased in quantity and sophistication over the last 20 years. Scholarship that describes how to teach with that information, however, has not followed, even though teaching the history of the field is a need recognized by several scholars. The article provides and defends four guidelines as a foundation to study ways to incorporate history into classroom lessons: 1) maintain a continued research interest in teaching history; 2) limit to technical rather than scientific discourse; 3) focus on English-language texts; and 4) focus on American texts, authors, and practices. The second part of the essay works within the guidelines to show a lesson that contrasts technical texts by Benjamin Franklin and Herbert Hoover. The lesson can help students see the difference in technical writing before and after the Industrial Revolution, a difference that mirrors their own transition from the university to the workforce.

Echt Brecht? ‘Mother Courage‘at the Citizens,1990

1991 ◽  
Vol 7 (28) ◽  
pp. 303-314
Author(s):  
Margaret Eddershaw
Keyword(s):  
Eastern Europe ◽  
Senior Lecturer ◽  
History Of ◽  
Theatre Studies ◽  
The University

The Citizens Theatre in Glasgow has a long and honourable tradition of serving its neighbourhood and its city, and a directorial team which remarkably combines professional distinction with loyalty to their theatre. In view of its reputation for productions of great visual brilliance, it is surprising to be reminded that, of all British repertory theatres, ‘national’ or regional, it has also the strongest continuous tradition of playing Brecht. Margaret Eddershaw, Senior Lecturer in Theatre Studies in the University of Lancaster, outlines the history of this tradition, which stretches back even beyond the present triumviral management, and proceeds to look at the most recent encounter of ‘the Cits’ with Brecht, Philip Prowse's 1990 production of Mother Courage. This was significant not only for the director's attitude to Brechtian theory, theatrical and political, in the aftermath of the previous year's events in Eastern Europe, but for its inclusion of an international ‘star’, Glenda Jackson, within the Cits' usually close-knit ensemble – its consequences also, arguably, of ‘political’ as well as theatrical interest.

Hospitality and the Ethics of Improvisation in the Work of Ingemar Lindh

2008 ◽  
Vol 24 (3) ◽  
pp. 246-259 ◽  
Author(s):  
Frank Camilleri
Keyword(s):  
Ongoing Research ◽  
Holistic Understanding ◽  
History Of ◽  
Theatre Studies ◽  
And Performance ◽  
Performance Project ◽  
Key Aspects ◽  
The University ◽  
Artistic Director ◽  
Collective Improvisation

Ingemar Lindh's work on the principles of collective improvisation has crucial implications for the history of twentieth-century laboratory theatre. His early work with Étienne Decroux and Jerzy Grotowski contributed to the development of a unique practice that resists directorial montage, fixed scores, and choreography; and the ethical dimension that accompanies Lindh's research on collective improvisation is illuminating for a more holistic understanding of the technical and aesthetic considerations in theatre. In this article, Frank Camilleri discusses some of the key aspects of this dimension, notably the dynamics of hospitality and encounter that inform Lindh's approach and the question of responsibility in the actor's work. Frank Camilleri is Lecturer in Drama and Theatre Studies at the University of Kent. From 2004 to 2008 he was Academic Coordinator of Theatre Studies at the University of Malta. He is also Artistic Director of Icarus Performance Project – an ongoing research laboratory that investigates the intermediary space between training and performance processes. Camilleri's work with Lindh in the mid-1990s was instrumental for the development of this research practice.

All about Eve: Apple Island and the Fictions of Lesbian Community

1994 ◽  
Vol 10 (37) ◽  
pp. 28-32
Author(s):  
Stacy Wolf
Keyword(s):  
Cultural Production ◽  
Performance Space ◽  
University Of Wisconsin ◽  
Doctoral Candidate ◽  
Theory And Criticism ◽  
Lesbian Community ◽  
Theatre Studies ◽  
And Performance ◽  
The University ◽  
Cultural Feminism

We continue our occasional series on the actuality and the ideology of lesbian performance with a study of Apple Island, a performance space in Madison, Wisconsin. Many of the productions of this ‘women's cultural and art space’ could, suggests Stacy Wolf, be categorized as performance art: she looks at these in the context of other modes and definitions of cultural production, and at the ‘complex interplay of identity and knowledge’ which constructs Apple Island's potential spectators. Looking at both positive negative critiques of its work, she concludes that the activity through which its refusal of political and performative divisions is best exemplified is the weekly class-cumperformance of country western line dancing, and suggests through folkloric analogy how this helps to define or redefine the meaning of cultural feminism. Stacy Wolf is a doctoral candidate in Theatre and Drama and a lecturer in Women's Studies at the University of Wisconsin, Madison. She has also published articles in Theatre Studies, Women and Performance, and the Journal of Dramatic Theory and Criticism.

Opera Evangelica: A Lost Collection of Christian Apocrypha

2021 ◽  
Vol 67 (3) ◽  
pp. 356-387
Author(s):  
Tony Burke ◽  
Gregory Peter Fewster
Keyword(s):  
Eighteenth Century ◽  
English Language ◽  
Rare Book ◽  
Cambridge University ◽  
University Of Toronto ◽  
History Of ◽  
The University ◽  
First Time ◽  
Material Form ◽  
Selection Of

Within the holdings of the Thomas Fisher Rare Book Library at the University of Toronto there is a curious, rarely examined handwritten book entitled Opera Evangelica, containing translations of several apocryphal works in English. It opens with a lengthy Preface that provides an antiquarian account of Christian apocrypha along with a justification for translating the texts. Unfortunately, the book's title page gives little indication of its authorship or date of composition, apart from an oblique reference to the translator as ‘I. B.’ But citations in the Preface to contemporary scholarship place the volume around the turn of the eighteenth century, predating the first published English-language compendium of Christian apocrypha in print by Jeremiah Jones (1726). A second copy of the book has been found in the Cambridge University Library, though its selection of texts and material form diverges from the Toronto volume in some notable respects. This article presents Opera Evangelica to a modern audience for the first time. It examines various aspects of the work: the material features and history of the two manuscripts; the editions of apocryphal texts that lie behind its translations; the views expressed on Christian apocrypha by its mysterious author; and its place within manuscript publication and English scholarship around the turn of the eighteenth century. Scholars of Christian apocrypha delight in finding ‘lost gospels’ but in Opera Evangelica we have something truly unique: a long-lost collection of Christian apocrypha.

scholarly journals Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya

2021 ◽  
Vol 2 (5) ◽  
pp. 26-31
Author(s):  
Andrew Bula
Keyword(s):  
Literary Criticism ◽  
Comparative Studies ◽  
English Language ◽  
English Literature ◽  
Language History ◽  
The World ◽  
History Of ◽  
European Theatre ◽  
The University ◽  
Phd Thesis

Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.

Sign in / Sign up

Export Citation Format

Share Document