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.

scholarly journals Representing the War. Early Twentieth Century Maps and Models in the Fonds of the Italian War History Museum in Rovereto

2021 ◽  
Vol 4 ◽  
pp. 1-8
Author(s):  
Elena Dai Prà ◽  
Valentina De Santi ◽  
Giannantonio Scaglione
Keyword(s):  
Twentieth Century ◽  
Three Dimensional ◽  
Field Surveys ◽  
History Museum ◽  
Early Twentieth Century ◽  
Wide Range ◽  
The First World War ◽  
Three Dimensional Models ◽  
The University ◽  
First World

Abstract. The representation of the areas in which some of the most significant events of the First World War took place has produced a wide range of materials, such as cartography, aerial and terrestrial photos, textual descriptions and field surveys. In addition, war events were also represented through three-dimensional models. Topographic maps and models constitute composite figurations, which are rich in informative data useful for the preservation of the memory of places and for increasing the knowledge of cultural heritage. Hence, these sources need to be studied, described, interpreted and used for future enhancement. The focus of this paper are archival materials from the collections kept at the Italian War History Museum of Rovereto (Museo Storico Italiano della Guerra), in the Trentino-Alto Adige region. Firstly, we will investigate the cartographic fond in order to assess the composition and origin of its materials. Secondly, we will present the Museum’s collection of Early-Twentieth Century models. Such precious heritage is not yet part of an exhibition, and is kept in the Museum’s warehouses. The paper constitutes the occasion to present the initial results of a still ongoing project by the Geo-Cartographic Centre for Study and Documentation (GeCo) of the University of Trento on the study and analysis of two archival complexes preserved in the abovementioned Museum. In particular, the paper focuses on the heuristic value of such representational devices, which enable an analysis of the different methods and languages through which space is planned and designed, emphasizing the complementarity between different types of visualization.

Comic Collisions: Convention, Rage, and Order

1987 ◽  
Vol 3 (12) ◽  
pp. 303-316 ◽  
Author(s):  
Susan Carlson
Keyword(s):  
Twentieth Century ◽  
Henry James ◽  
Associate Professor ◽  
Full Length ◽  
The Novel ◽  
State University ◽  
Modern Drama ◽  
Happy Ending ◽  
Critical Aspects

How can the socially critical aspects of comedy be reconciled with a ‘happy ending’ which seems to affirm the existing order of things? This perennial problem has become acute in a period when both playwrights and comic performers are increasingly conscious of the dangers inherent in the stereotyping – racial, sexual, and hierarchical – on which so much comedy depends. In this article, Susan Carlson looks at some recent ‘meta-comedies’ which have used the form, as it were, to expose itself – notably, Trevor Griffiths's Comedians, Peter Barnes's Laughter, Susan Hayes's Not Waving, and Caryl Churchill's Cloud Nine – and analyzes their responses to comedy, which range from the despairing to the affirmative. She concludes that only Churchill has found a positive way of ‘connecting the painful recognitions of twentieth-century dissociations to comic hope’. Susan Carlson is Associate Professor of English at lowa State University. In addition to numerous articles on modern drama and the novel, she has published a full-length study of the plays of Henry James, and is currently working on a book about women in comedy.

scholarly journals Notes on Contributors

Philosophy ◽  
2001 ◽  
Vol 76 (4) ◽  
pp. 489-490
Keyword(s):  
Philosophy Of Language ◽  
Assistant Professor ◽  
Associate Professor ◽  
Professor Emeritus ◽  
Columbia University ◽  
American University ◽  
American University Of Beirut ◽  
Doctoral Candidate ◽  
University Professor ◽  
The University

John R. SearleJohn R. Searle is Professor of Philosophy at the University of California at Berkeley. He is author of many distinguished works on the philosophy of language and mind.Luke PurshouseTemporary Lecturer in Philosophy at St John's College Cambridge who has researched interests in accounts of emotions and their rational appraisal and has recently completed a doctoral dissertation on the subject.Christopher CordnerLecturer in Philosophy at the University of Melbourne. His book Ethical Encounter will soon be published by Palgrave.Thom BrooksRecently received his MA from University College Dublin. He is now a doctoral candidate at the University of Sheffield. His dissertation is on Hegel's political philosophy.Roberto CasatiA researcher at the Nicod Institut of CNRS, Paris. His most recent works are The Discovery of the Shadow (Little Brown/Knopf) and Parts and Places (MIT Press, with Achille C. Varzi).Achille C. VarziAssociate Professor of Philosophy at Columbia University. His most recent works are An Essay in Universal Semantics (Kluwer) and Parts and Places (MIT Press, with Roberto Casati). Jeremy Randel KoonsAssistant Professor of Philosophy at the American University of Beirut. His primary research interests are in ethical theory and epistemology. His article ‘Do Normative Facts Need to Explain?’ recently appeared in Pacific Philosophical Quarterly.Hilary W. PutnamCogan University Professor Emeritus at Harvard University. His books include Reason, Truth and History, Realism with a Human Face, Words and Life, Pragmatism and The Threefold Cord: Body and World.Graham OppyAssociate Professor of Philosophy at Monash University. His research interests lie in philosophy of religion, philosophy of science, metaphysics and philosophy of language. He is the author of Ontological Arguments and Belief in God (Cambridge University Press, 1996).

scholarly journals Granville Barker's Ensemble as a Model of Fabian Theatre

2012 ◽  
Vol 28 (4) ◽  
pp. 307-324 ◽  
Author(s):  
Philippa Burt
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Popular Culture ◽  
Early Twentieth Century ◽  
Dialogical Relationship ◽  
And Performance ◽  
The University ◽  
Fabian Society

While the dialogical relationship between the early twentieth-century British theatre and the rise of socialism is well documented, analysis has tended to focus on the role of the playwright in the dissemination of socialist ideas. As a contrast, in this article Philippa Burt examines the directorial work of Harley Granville Barker, arguing that his plans for a permanent ensemble company were rooted in his position as a member of the Fabian Society. With reference to Pierre Bourdieu's concept of habitus and Maria Shevtsova's development of it in reference to the theatre, this article identifies a correlation between Barker's political and artistic approaches through extrapolating the central tenets of his theory on ensemble theatre and analyzing them alongside the central tenets of Fabianism. Philippa Burt is currently completing her PhD in the Department of Theatre and Performance at Goldsmiths, University of London. This article is developed from a paper presented at the conference on ‘Politics, Performance, and Popular Culture in Nineteenth-Century Britain’ at the University of Lancaster in July 2011.

scholarly journals Punk Rock as Popular Theatre

2007 ◽  
Vol 23 (1) ◽  
pp. 35-48 ◽  
Author(s):  
Oliver Double
Keyword(s):  
Twentieth Century ◽  
Punk Rock ◽  
Popular Theatre ◽  
Avant Garde ◽  
Stand Up Comedy ◽  
Early Twentieth Century ◽  
Wide Range ◽  
Sex Pistols ◽  
Music Hall ◽  
The University

Punk rock performance consciously draws on popular theatre forms such as music hall and stand-up comedy – as was exemplified on the occasion when Max Wall appeared with Ian Dury at the Hammersmith Odeon. Oliver Double traces the historical and stylistic connections between punk, music hall and stand-up, and argues that punk shows can be considered a form of popular theatre in their own right. He examines a wide range of punk bands and performers – including The Sex Pistols, Iggy Pop, Devo, Spizz, The Ramones, The Clash, and Dead Kennedys – to consider how they use costume, staging, personae, characterization, and audience–performer relationships, arguing that these are as important and carefully considered as the music they play. Art movements such as Dada and Futurism were important influences on the early punk scene, and Double shows how, as with early twentieth-century cabaret, punk performance manages to include avant-garde elements within popular theatre forms. Oliver Double started his career performing a comedy act alongside anarchist punk bands in Exeter, going on to spend ten years on the alternative comedy circuit. Currently, he lectures in Drama at the University of Kent, and he is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005).

Suppressed Desire: Inscriptions of Lesbianism in the British Theatre of the 1930s

2001 ◽  
Vol 17 (4) ◽  
pp. 310-318 ◽  
Author(s):  
Helen Freshwater
Keyword(s):  
Twentieth Century ◽  
Academic Press ◽  
Archival Research ◽  
Theoretical Structure ◽  
Edinburgh Review ◽  
University Of Edinburgh ◽  
And Performance ◽  
The University

In this response to John F. Deeney's article, ‘Censoring the Uncensored: the Case of Children in Uniform’, which appeared in NTQ 63 (August 2000), Helen Freshwater enters the growing debate over our reclamation of historical depictions of homosexuality. She questions Deeney's contention that our contemporary critical prejudices obscure the circulation of dramatic images of lesbianism during the 1930s, proposing that the Lord Chamberlain's difficulties in identifying lesbianism demonstrate the impossibility of dispensing with the theoretical structure that informs our understanding of this identity. Her archival research also reveals that there were in fact many efforts to put the lesbian on the stage during this period, but that these were effectively suppressed by the Lord Chamberlain, who refused to contemplate the performative enactment of lesbianism, no matter how indistinct or conventionalized in form. Her article addresses the challenges faced when addressing these dramatic inscriptions of lesbian desire, which are often homophobic, prurient, and unquestioning in their affirmation of the heterosexual norm. Helen Freshwater has recently completed her PhD on performance and censorship in twentieth-century Britain at the University of Edinburgh, and now lectures in drama and performance at the University of Nottingham. Her ‘The Ethics of Indeterminacy: Theatre de Complicite's Mnemonic’ appeared in NTQ67. She is also a contributor to the Edinburgh Review and to the anthology Crossing Boundaries (Sheffield Academic Press, 2001).

Hearing Hope: Metatheatrical Utopias in the ‘Staging’ of Radio Drama

2010 ◽  
Vol 26 (1) ◽  
pp. 49-60
Author(s):  
Jenn Stephenson
Keyword(s):  
Associate Professor ◽  
Radio Drama ◽  
University Of Toronto ◽  
Canadian Theatre ◽  
Theory And Criticism ◽  
German Speaking ◽  
Long Time ◽  
Radio Play ◽  
And Performance ◽  
The University

The radio play has long survived the competition from television in Britain, and also has a long tradition in the German-speaking world in the form of the Hörspiel – but its strength has lain precisely in demanding a visual contribution from the listener's imagination. What happens when a radio play is ‘staged’ before a live audience? In 2005, under commission from the Royal Festival Hall, the composer Carter Burwell proposed writing a sound score for new plays; and under the banner of Theatre of the New Ear, he recruited his long-time collaborators on film, Charlie Kaufman and Joel and Ethan Coen, to write specifically for sound-only. In this article Jenn Stephenson describes the experience of ‘watching’ a radio play, and offers a theorization of its qualities and the effects on its audience. Jenn Stephenson received her PhD from the University of Toronto in 2003 and is now Associate Professor of Drama at Queen's University in Kingston, Canada. Her recent publications include articles in Theatre Journal, Journal of Dramatic Theory and Criticism, Studies in Theatre and Performance, and Theatre Research in Canada. She is co-editor of the ‘Views and Reviews’ section of Canadian Theatre Review.

‘Yours Neutrally, Habitational Action’: Performance between Theatre and Dance

2013 ◽  
Vol 29 (3) ◽  
pp. 247-263
Author(s):  
Frank Camilleri
Keyword(s):  
A Priori ◽  
Associate Professor ◽  
Actor Training ◽  
Central Aspect ◽  
Theatre Studies ◽  
The Cross ◽  
And Performance ◽  
Performance Project ◽  
The University ◽  
Artistic Director

A milestone development in a practice-as-research investigation led to the identification of ‘habitational action’ as a term that resists a priori restrictions of inner–outer problematics when discussing performer processes. In this article Frank Camilleri cross-references the term with ‘neutral action’ to locate it conceptually and historically; first with Jacques Lecoq's pedagogical mask work, and then with Yvonne Rainer's conceptualization of the ‘neutral doer’. The cross-referencing to specific theatre and dance contexts is also intended to problematize psychophysicality as a central aspect of current actor training discourse. Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. In 2007 he co-founded Icarus Publishing with Odin Teatret and the Grotowski Institute. He is also Visiting Professor in Theatre and Performance at the University of Huddersfield.

Sign in / Sign up

Export Citation Format

Share Document