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.

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.

scholarly journals Picturing Nineteenth-Century Female Theatre Managers: the Iconology of Eliza Vestris and Sara Lane

2017 ◽  
Vol 33 (1) ◽  
pp. 3-21
Author(s):  
Janice Norwood
Keyword(s):  
Nineteenth Century ◽  
English Literature ◽  
Theatre History ◽  
Senior Lecturer ◽  
Personal Lives ◽  
Professional Activities ◽  
Theatrical Management ◽  
Aesthetic Practice ◽  
Theatre Studies ◽  
The University

Lucia Elizabeth Vestris (1797–1856) and Sara Lane (1822–99) were two pioneering women in nineteenth-century theatre history. Both were accomplished singers who made their names initially in comic and breeches roles and, during periods when theatrical management was almost exclusively confined to men, both ran successful theatre companies in London. Despite these parallels in their professional activities, there are substantial disparities in the scrutiny to which their personal lives were subjected and in how their contemporaries and posterity have memorialized them. In this article, Janice Norwood examines a range of portraits and cartoons of the two women, revealing how the images created and reflected the women's public identities, as well as recording changes in aesthetic practice and social attitudes. She argues that the women's iconology was fundamentally shaped by the contemporary discourse of gender difference. Janice Norwood is Senior Lecturer in English Literature, Drama, and Theatre Studies at the University of Hertfordshire. She has published on various aspects of nineteenth-century theatre history and edited a volume on Vestris for the Lives of Shakespearian Actors series (London: Pickering and Chatto, 2011).

scholarly journals Challenges to Democracy in the Middle East

2002 ◽  
Vol 19 (1) ◽  
pp. 124-128
Author(s):  
Kamran Asghar Bokhari
Keyword(s):  
Middle East ◽  
Political Development ◽  
Third Wave ◽  
Cultural Dynamics ◽  
Senior Lecturer ◽  
Arab Nationalism ◽  
French Mandate ◽  
History Of ◽  
The One ◽  
The University

Many scholars have attempted to tackle the question of why democracy has seemingly failed to take root in the Islamic milieu, in general, and the pre dominantlyArab Middle East, in particular, while the rest of the world has witnessed the fall of"pax-authoritaria" especially in the wake of the demercratic revolution triggered by the failure of communism. Some view this resistance to the Third Wave, as being rooted in the Islamic cultural dynamics of the region, whereas others will ascribe it to the level of political development (or the lack thereof). An anthology of essays, Challenges to Democracy in the Middle East furnishes the reader with five historical casestudies that seek to explain the arrested socio politico-economic development of Syria, Lebanon, Iraq, Iran, and Turkey, and the resulting undemercratic political culture that domjnates the overall political landscape of the Middle East. The first composition in this omnibus is "The Crisis of Democracy in Twentieth Century Syria and Lebanon," authored by Bill Harris, senior lecturer of political studies at the University of Otago in Dunedin, New Zealand. Haris compares and contrasts the political development of Syria and Lebanon during the French mandate period and under the various regimes since then. He examines how the two competing forms of national­ism, i.e., Lebanonism and Arabism, along with sectarianism, are the main factors that have contributed to the consolidation of one-party rule in Syria, and the I 6-year internecine conflict in Lebanon. After a brief overview of the early history of both countries, the author spends a great deal oftime dis­cussing the relatively more recent political developments: Syria from 1970 onwards, and Lebanon from I 975 to the I 990s. Harris expresses deep pes­simism regarding the future of democratic politics in both countries, which in his opinion is largely due to the deep sectarian cleavages in both states. The next treatise is "Re-inventing Nationalism in B􀀥thi Iraq 1968- 1994: SupraTerritorial Identities and What Lies Below," by Amatzia Baram, professor of Middle East History at the University of Haifa. Baram surveys the Ba·th's second stint in power (1968-present) in lraq. Baram's opinion is that a shift has occurred in B􀀥thist ideology from an integrative Pan-Arab program to an Iraqi-centered Arab nationalism. She attributes this to Saddam's romance with the past, on the one hand, which is the reason for the incorporation of themes from both the ancient Mesopotamian civiliza­tion and the medieval Abbasid caliphal era, and, on the other hand, to Islam and tribalism, that inform the pragmatic concerns of the Ba'thist ideological configuration ...

Notes on Contributors

Philosophy ◽  
1998 ◽  
Vol 73 (2) ◽  
pp. 155-155 ◽  
Keyword(s):  
Philosophy Of Language ◽  
Applied Ethics ◽  
Assistant Professor ◽  
State University ◽  
University Of Virginia ◽  
James Madison ◽  
Senior Lecturer ◽  
Idaho State University ◽  
History Of ◽  
The University

Amélie Oksenberg RortyProfessor of the History of Ideas at Brandeis University. Besides Mind in Action (Beacon, 1998). She has published numerous articles on the history of moral psychology.Roger WertheimerAuthor of The Significance of Sense (awarded Harvard University's Carrier Prize) and frequently anthologized essays in theoretical and applied ethics, and formerly a Guggenheim Fellow and professor at a dozen universities has not found employment for several years.Karen GreenSenior Lecturer in Philosophy at Monash University, Melbourne. She is the author of The Woman of Reason: Feminism, Humanism and Political Thought and teaches feminism and philosophy of language.John BigelowProfessor of Philosophy at Monash University, Melbourne. He is author of the Reality of Numbers and (jointly with Robert Pargetter) Science and Necessity and teaches history of philosophy.Maria AlvarezLecturer in Philosophy, University of Reading.John HymanFellow and Praelector in Philosophy, The Queen's College, Oxford.James CargileProfessor in the Corcoran Department of Philosophy at the University of Virginia and is a previous contributor to Philosophy.William Max Knorpp, JrAssistant Professor at James Madison University in Virginia.Russell WahlProfessor of Philosophy at Idaho State University.Jonathan WestphalProfessor of Philosophy at Idaho State University.

Theatre Practice, Theatre Studies, and ‘New Theatre Quarterly’

1985 ◽  
Vol 1 (1) ◽  
pp. 3-6
Author(s):  
Simon Trussler
Keyword(s):  
Associate Editor ◽  
Actor Training ◽  
Senior Lecturer ◽  
Original Series ◽  
Theatre Studies ◽  
English Speaking ◽  
Personal Reflections ◽  
The University

The original series of Theatre Quarterly ran for ten years and forty issues, from 1971 to 1981. The relaunched journal intends to continue the best traditions of the old, while reflecting the changes that have overtaken the English-speaking theatre in the intervening years. Simon Trussler, who was an editor of the old TQ throughout its existence, here offers some personal reflections on the appearance of New Theatre Quarterly, the present mood of the theatre, and the challenges now facing theatre practitioners and researchers alike. Simon Trussler is also author of over twenty books and monographs on theatre, was drama critic of Tribune from 1966 to 1972, and currently teaches in the Drama Departments of Goldsmiths' College, University of London, and the University of Kent. Clive Barker, his associate editor on TQ since 1978, joins him as co-editor of the new journal. Formerly an actor with Joan Littlewood's Theatre Workshop, and author of the influential guide to actor training Theatre Games, Clive Barker is currently Senior Lecturer in Theatre Studies in the University of Warwick.

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.

scholarly journals Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks

2017 ◽  
Vol 6 ◽  
pp. 58-72
Author(s):  
Adriana Miramontes Olivas ◽  
Juan De Dios Mora ◽  
Deborah Caplow
Keyword(s):  
San Antonio ◽  
El Paso ◽  
History Of Photography ◽  
Senior Lecturer ◽  
University Of Texas ◽  
Promised Land ◽  
Mexican Art ◽  
History Of ◽  
Guadalupe Cultural Arts Center ◽  
The University

Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by the Art Department at the Stephen F. Austin State University School of Art, January 26–March 10, 2017). In 2016, Mora participated in the group show Los de Abajo: Garbage as an Artistic Source (From the Bottom: Garbage as an Artistic Source) at the Guadalupe Cultural Arts Center in San Antonio (June 10–July 29, 2016). Mora also curates the show Print It Up, which he organizes in the downtown area of San Antonio, thereby granting unprecedented exposure to numerous artists. For this exhibition, Mora mentors both students and alumni, guiding them through the exhibition process—from how to create a portfolio, frame and install artworks, to contracting with gallery owners, and selling artworks to the public. Adriana Miramontes Olivas is a doctoral student in the Department of the History of Art and Architecture at the University of Pittsburgh. She earned her BA at the University of Texas at El Paso and her MA at the University of Texas at San Antonio. Her research is in modern and contemporary global art with a focus on Latin America, gender studies, sexuality, and national identity.Dr. Deborah Caplow is an art historian and curator, and the author of a book about the Mexican printmaker, Leopoldo Méndez (Leopoldo Méndez: Revolutionary Art and the Mexican Print, University of Texas Press). She teaches art history at the University of Washington, Bothell. Areas of scholarship include twentieth-century Mexican art, the intersections between art and politics, and the history of photography. Currently, she is researching contemporary printmaking in Oaxaca, Mexico.

scholarly journals Jardar Seim and the history of a Norwegian-Romanian story

2016 ◽  
Vol 8 (1) ◽  
pp. 91-98
Author(s):  
Crina Leon
Keyword(s):  
High School ◽  
Social Studies ◽  
Eastern Europe ◽  
European History ◽  
Diplomatic Relations ◽  
Eastern European ◽  
History Of ◽  
University Of Oslo ◽  
The University

Jardar Seim is a historian and member of The Norwegian Historical Association, a specialist in Eastern European history which he taught at the University of Oslo between 1983 and 2002, and moreover a keen speaker of the Romanian language. He is the author of the works Øst-Europas historie/The History of Eastern Europe (Aschehoug, Oslo, 1994) and Øst-Europa etter murens fall/Eastern Europe after the Fall of the Wall (Aschehoug Forum, Oslo, 1999) and co-editor of the book Romanian-Norwegian Relations. Diplomatic Documents, 1905-1947 (Romanian Cultural Institute, Bucharest, 2007), one of the very few works dealing with the Norwegian-Romanian diplomatic relations. He was also a teacher of history, Norwegian and social studies at the High School in Ski, Norway, and responsible for the pupils’ exchange between the above-mentioned high school and Unirea High School (later Unirea National College) in Braşov, Romania, in the period 1993-2008.

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.

scholarly journals Museum: The Macleays, Their Collections and the Search for Order.

2011 ◽  
Vol 17 (2) ◽  
pp. 162
Author(s):  
Graham R Fulton
Keyword(s):  
Short Stories ◽  
Botanic Gardens ◽  
Senior Lecturer ◽  
Aesthetic Appeal ◽  
Non Fiction ◽  
History Of ◽  
Royal Botanic Gardens ◽  
Coffee Table ◽  
The University ◽  
Open The Doors

STACEY and Hay have previously collaborated on the volume Herbarium (Stacey and Hay 2004) regarding collections held in the herbarium of the Royal Botanic Gardens, Sydney. Ashley Hay has published two books of narrative non-fiction. Her essays, short stories and journalism have appeared in various periodicals including The Bulletin where she was a literary editor. Robyn Stacey is a Senior Lecturer in the School of Communication and Arts at the University of Western Sydney. She is an acclaimed photographer, in Australia, with her photography shown in Australia and internationally. This book is about the history, collectors and collections of The Macleay Museum at The University of Sydney. Its aim is to bring the reader closer to the collectors and collections by breathing life into the characters and selected specimens in the collection; according to the dust-jacket’s hyperbole, to throw open the doors of the museum and its rich collections. The authors develop the book with their individual skills, one of writing and one of photography. The second is facilitated through its aesthetic appeal, its folio size and large photographic reproductions of strikingly coloured specimens. The whole is a coffee-table-style-book with a text that digs deeper developing the background to the personalities and collections, intertwining them with the history of early systematists/collectors, which provides the backbone of the text.

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