‘So Many Things Can Go Together’: the Theatricality of John Cage

1995 ◽  
Vol 11 (41) ◽  
pp. 72-78 ◽  
Author(s):  
Natalie Crohn Schmitt
Keyword(s):  
Twentieth Century ◽  
Performing Arts ◽  
Japanese Journal ◽  
Performance Theory ◽  
John Cage ◽  
University Of Illinois ◽  
Contemporary Theatre ◽  
The Arts ◽  
Theatrical Performance ◽  
The University

John Cage (1912–1993) is widely regarded as one of the most pervasively influential figures in the arts in the latter half of the twentieth-century. Although best known as a composer, Cage expanded perceptions of what could constitute theatrical performance, and in this essay Natalie Crohn Schmitt assesses the nature and significance of Cage's intermedia performances and their immediate influence on other such work. Natalie Crohn Schmitt's Actors and Onlookers: Theater and Twentieth-Century Scientific Views of Nature (Northwestern UP, 1990) is an analysis of contemporary theatre based on Cage's aesthetics, and essays of hers on Cage have appeared in other journals and in anthologies devoted to the artist. She has previously written in NTQ on Stanislavski (NTQ 8) and on performance theory in its historic moment (NTQ 23). Schmitt is Professor of Performing Arts and Professor of English the University of Illinois at Chicago. This essay was originally published in a slightly different form in Japanese in a Cage commemorative issue of the Japanese journal Music Today.

Theorizing about Performance: Why Now?

1990 ◽  
Vol 6 (23) ◽  
pp. 231-234 ◽  
Author(s):  
Natalie Crohn Schmitt
Keyword(s):  
Twentieth Century ◽  
British Journal ◽  
Quantum Physics ◽  
Performance Theory ◽  
The Unconscious ◽  
Hierarchical Relations ◽  
Theatrical Performance ◽  
Northwestern University ◽  
Modern Physics ◽  
The University

This article continues NTQ's recent exploration of the interaction between the study of theatrical performance and other disciplines – in this case, relating in particular to ‘Quantum Physics and the Language of Theatre’, published in NTQ 18 (1989). Schmitt argues that there is a correspondence between the contemporary interest in performance theory and the view of nature provided by modern physics. The analysis of nature in terms of events rather than objects, the perception of reality as a network of non-teleological, non-hierarchical relations, the interest in the interplay between nature and our perception of it: all correlate, she suggests, with an interest in theory of performance. Natalie Crohn Schmitt is Professor of Theater at the University of lllinois at Chicago. She published ‘Stanislavski, Creativity, and the Unconscious’ in NTQ 8 (1986), and has also published in Theatre Notebook, The British Journal of Aesthetics, Theatre Journal, Comparative Drama, Theatre Survey, and elsewhere. Her full-length study. Actors and Onlookers: Theater and Twentieth-Century Scientific Views of Nature has just appeared, from Northwestern University Press.

Andres Neumann’s Theatrical Archive. Sources for the History of Contemporary Performing Arts

2021 ◽  
Vol 66 (2) ◽  
pp. 95-110
Author(s):  
Andrea Giovanni Strangio
Keyword(s):  
Twentieth Century ◽  
Performing Arts ◽  
First Year ◽  
Research Project ◽  
Contemporary Theatre ◽  
Peter Brook ◽  
History Of ◽  
University Of Florence ◽  
The University ◽  
Pina Bausch

"The paper, at the conclusion of the work conducted during the first year of the PhD course in Storia delle Arti e dello Spettacolo (History of Cinema, Music, Fine and Performing Arts) at the University of Florence, briefly describes the structure and content of the theatrical archive of Andres Neumann, preserved at the il Funaro Centro Culturale of Pistoia. The fund is a precious instrument of historiography, because it contains documents relating to the main plays of the international theatre of the last thirty years of the twentieth century. After having presented and discussed some examples of documentary types contained in the archive, in particular regarding Tadeusz Kantor and Anatoly Vasiliev, the paper illustrates the prospects for development of this research project. Keywords: Andres Neumann, contemporary theatre, Tadeusz Kantor, Peter Brook, Pina Bausch, Anatoly Vasiliev, il Funaro Centro Culturale, Rondò di Bacco. "

scholarly journals A dramatic existence: Undergraduate preparations for a creative life in the performance industries

2020 ◽  
Vol 34 (4) ◽  
pp. 272-283
Author(s):  
Rachel Delta Higdon ◽  
Kate Chapman
Keyword(s):  
Performing Arts ◽  
Creative Industries ◽  
Creative Arts ◽  
Public And Private ◽  
The Public ◽  
The United Kingdom ◽  
The Arts ◽  
Research Findings ◽  
The University ◽  
Creative Life

This article focuses specifically on drama and theatre higher education (HE) programmes and preparation for potential graduate work. The article investigates working in the creative industries and in the performing arts (particularly within acting) and how HE students in the United Kingdom prepare for this life. The growth of the creative industries and successful applied drama in the public and private sectors has also brought business interest in how drama and theatre processes can benefit other workplaces, outside of the creative arts. The article addresses current policy, initiatives and partnerships to broaden inclusion and access to creative work. The research explores drama undergraduate degrees and the university’s role in supporting a successful transition from HE to graduate work. Students perceive the university world as safe and the graduate world as precarious and unsafe. The research findings have resonance with other undergraduate degrees, outside of the arts and the role the university plays in student transitions from the university to the graduate environment.

On the Dark Side of the Love of Art

1970 ◽  
Vol 27 (2) ◽  
pp. 207-211
Author(s):  
Philipp Fehl
Keyword(s):  
North Carolina ◽  
Classical Tradition ◽  
Dark Side ◽  
University Of Chicago ◽  
University Of Illinois ◽  
The Arts ◽  
History Of Art ◽  
History Of ◽  
The University

This is a slightly revised version of a contribution to a symposium on the spiritual aspect of creativity in the arts, held at the Reform Synagogue, Durham, North Carolina, in March, 1969. The author, formerly a refugee from Vienna, who received his doctorate from the University of Chicago, is now Professor of the History of Art at the University of Illinois. He is presently engaged in the preparation of a book on the art of Paolo Veronese. His special field of interest is the history of the classical tradition in the arts. He is himself a practicing artist.

How Does the Billy-Goat Produce Milk? Sergei Eisenstein's Reconstitution of Kabuki Theatre

2016 ◽  
Vol 32 (4) ◽  
pp. 318-332
Author(s):  
Min Tian
Keyword(s):  
Twentieth Century ◽  
Theatre History ◽  
University Of Iowa ◽  
University Of Illinois ◽  
Female Roles ◽  
The University

Through a close examination of Eisenstein's writings on the Kabuki theatre, Min Tian demonstrates in this article that Eisenstein's interpretation of Kabuki from the perspective of his theory displaced the techniques and principles of Kabuki theatre from its historical and aesthetic contexts. Predicated upon his ‘montage thinking’, Eisenstein reconstituted the techniques and principles integral to Kabuki as an organic whole in the context of his evolving and synthesizing theory. Min Tian has a PhD in theatre history from the University of Illinois at Urbana-Champaign and a doctorate at the Central Academy of Drama in Beijing. Currently teaching at the University of Iowa, he is the author of Mei Lanfang and the Twentieth-Century International Stage (2012) and The Poetics of Difference and Displacement: Twentieth-Century Chinese–Western Intercultural Theatre (2008), and editor of China's Greatest Operatic Male Actor of Female Roles: Documenting the Life and Art of Mei Lanfang, 1894–1961 (2010).

scholarly journals Introduction: Popular Islam in twentieth-century Africa

Africa ◽  
1985 ◽  
Vol 55 (4) ◽  
pp. 363-368 ◽  
Author(s):  
C. C. Stewart
Keyword(s):  
Twentieth Century ◽  
Social Scientists ◽  
University Of Illinois ◽  
Or Practice ◽  
Great Tradition ◽  
The University ◽  
Selection Of

The term ‘popular Islam’ at once suggests denial or fragmentation within the Great Tradition or ‘orthodoxy’ in Islam as well as a degree of hostility on the part of those Islamicists and Muslims whose understanding of the oneness of God extends to the indivisibility of His Community. Social scientists may be expected to embrace the notion with more enthusiasm, being accustomed to observing Islam ‘from below’, but legitimate disquiet follows after plumbing the analytical shallows implicit in simple attributions of ‘popular-ness’ to matters of causation, motivation or ideology. Yet, with that said, few students of Islam in Africa cannot cite examples of belief or practice that represent ‘popular Islam’, and most would agree that this frequently bears some relation to the dramatic expansion of Islam during this century in Africa. These were some of the considerations that lay behind the selection of the theme ‘Popular Islam in Twentieth- Century Africa’ for a two-day symposium held at the University of Illinois in April 1984. Five of the papers presented at that meeting – by Louis Brenner and Murray Last, Mbye Cham, Lidwien Kapteijns, Paul Lubeck and Gabriel Warburg – are published with an essay by Abdullahi Osman El-Tom in this issue.

The Reinvention of Shakespeare in Traditional Asian Theatrical Forms

1998 ◽  
Vol 14 (55) ◽  
pp. 274-284
Author(s):  
Min Tian
Keyword(s):  
Twentieth Century ◽  
Associate Professor ◽  
Modern Drama ◽  
University Of Illinois ◽  
Doctoral Candidate ◽  
Wide Range ◽  
And Performance ◽  
The University

Especially during the later decades of the twentieth century, Shakespeare's plays have been adapted for production in many of the major Asian traditional theatrical forms – prompting some western critics to suggest that such forms, with their long but largely non-logocentric traditions, can come closer to the recovery or recreation of the theatrical conditions and performance styles of Shakespeare's times than can academically derived experiments based on scantily documented research. Whether in full conformity with traditional Asian styles, or by stirring ingredients into a synthetic mix, Min Tian denies that a ‘true’ recreation is possible – but suggests that such productions can, paradoxically, help us to ‘reinvent’ Shakespeare in fuller accord with our own times, notably by exploiting the potential of stylized gesture and movement, and the integration of music and dance, called for by proponents of a modernistic ‘total’ theatre after Artaud. In considering a wide range of Shakespearean productions and adaptations from varying Asian traditions, Min Tian suggests that the fashionably derided ‘universality’ of Shakespeare may still tell an intercultural truth that transcends stylistic and chronological distinctions. Min Tian holds a doctorate from the China Central Academy of Drama, where he has been an associate professor since 1992. The author of many articles on Shakespeare, modern drama, and intercultural theatre, he is now a doctoral candidate at the University of Illinois at Urbana-Champaign.

Conference of Ukrainian Scholars in Urbana, Illinois

1982 ◽  
Vol 10 (2) ◽  
pp. 277-279
Author(s):  
Zenon M. Kuk
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Eastern Europe ◽  
Research Laboratory ◽  
Scientific Society ◽  
University Of Illinois ◽  
Faculty Center ◽  
The University

On June 24-28, 1982 the Conference on Ukrainian Literature in the Twentieth Century took place at the University of Illinois at Urbana-Champaign, Levis Faculty Center. The conference was sponsored by the Summer Research Laboratory on Russia and Eastern Europe, University of Illinois, Urbana-Champaign and the Shevchenko Scientific Society, Inc., New York.

scholarly journals An Interview with Dr. Bernie Warren, Clown Doctor and Founde of Fools for Health

2005 ◽  
Vol 2 (3) ◽  
Author(s):  
Bernie Warren ◽  
Raymond Chodzinski
Keyword(s):  
Performing Arts ◽  
Well Being ◽  
Child Life ◽  
University Teaching ◽  
Full Professor ◽  
Disabled Children ◽  
The Arts ◽  
Life Threatening ◽  
The University

Bernie Warren Ph.D. (A .K .A . Dr . Haven't-AClue) is a full professor at the University of Windsor. His expertise and research spans a vast array of interests that relate to wellness, well-being, and the role of the arts in healthcare and education and are reflected in many articles, books, speaking engagements and participation in international symposiums and conferences. In 2001, he was awarded the Alumni Award for Distinguished contributions to University Teaching. His research and practice brings together his training and interest in Eastern martial arts and healing with his Western training in psychology and performing arts. He has worked with severely disabled children, seniors and people with life threatening medical conditions. His work with therapeutic clowns, "Clown-doctors" as he prefers, has been acclaimed as pioneering work in the field of applied medicine and child life specialties. In this interview, I discuss specifically with Dr. Warren about the role of humour and the work of clown-doctors.

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