Gestural Economies and Production Pedagogies in Deaf West’s Spring Awakening

2016 ◽  
Vol 60 (2) ◽  
pp. 145-153
Author(s):  
Sarah Wilbur
Keyword(s):  
Musical Theatre ◽  
Deaf Culture ◽  
Spring Awakening ◽  
Spoken Text ◽  
Technical Production ◽  
Sociocultural Ideals

In Deaf West’s Broadway revival of Spring Awakening, embodied gestures expose and challenge representational and infrastructural norms that drive commercial musical theatre. The company’s blend of ASL and spoken text extends the overarching message about failed sociocultural ideals to the realm of deaf culture. Micro-practical actions and interactions function tacitly to denaturalize audio-centric standards that guide theatrical reception, internal cueing, and technical production.

‘To really trust [...] we had to be open with ourselves and each other’: Community building through Spring Awakening

2020 ◽  
Vol 14 (1) ◽  
pp. 95-111
Author(s):  
Julie K. Hagen ◽  
Jennifer Thomas
Keyword(s):  
United States ◽  
New York ◽  
Focus Group ◽  
Community Building ◽  
The United States ◽  
Musical Theatre ◽  
Ethnographic Study ◽  
Spring Awakening ◽  
Narrative Ethnography ◽  
The Subject

The purpose of this ethnographic study was to better understand how participation in St. Lawrence University’s (New York, the United States) production of Spring Awakening served as a means of intimate and broader community building. This narrative ethnography investigated the director and a focus group of actors involved in the production of Spring Awakening. Analyses of the data revealed four themes: content, interconnectedness, emotion and vulnerability and magic. St. Lawrence University students welcomed and embraced the language, the music and the subject matter presented to them in the content of Spring Awakening. The willingness with which the students opened up to conversation and community continued to resonate with them in an interconnectedness that seemingly had more depth and more meaning than other productions they have worked on, including other musical theatre productions.

Inside Deaf culture

Nature ◽  
2004 ◽  
Author(s):  
Carina Dennis
Keyword(s):  
Deaf Culture

The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí

2020 ◽  
Vol 60 (1-4) ◽  
pp. 243-262
Author(s):  
Gloria A. Rodríguez-Lorenzo
Keyword(s):  
Twentieth Century ◽  
String Quartets ◽  
Musical Theatre ◽  
Turn Of The Century ◽  
Going Public ◽  
Spanish Music ◽  
Written Performance

The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.

Hacking Diversity

2019 ◽  
Author(s):  
Christina Dunbar-Hester
Keyword(s):  
Open Source ◽  
Human Resource ◽  
Open Source Software ◽  
Cultural Production ◽  
Equal Opportunity ◽  
Economic Power ◽  
Underrepresented Groups ◽  
Technical Production ◽  
Preferred Solutions

Hacking, as a mode of technical and cultural production, is commonly celebrated for its extraordinary freedoms of creation and circulation. Yet surprisingly few women participate in it: rates of involvement by technologically skilled women are drastically lower in hacking communities than in industry and academia. This book investigates the activists engaged in free and open-source software to understand why, despite their efforts, they fail to achieve the diversity that their ideals support. The book shows that within this well-meaning volunteer world, beyond the sway of human resource departments and equal opportunity legislation, members of underrepresented groups face unique challenges. The book explores who participates in voluntaristic technology cultures, to what ends, and with what consequences. Digging deep into the fundamental assumptions underpinning STEM-oriented societies, the book demonstrates that while the preferred solutions of tech enthusiasts—their “hacks” of projects and cultures—can ameliorate some of the “bugs” within their own communities, these methods come up short for issues of unequal social and economic power. Distributing “diversity” in technical production is not equal to generating justice. The book reframes questions of diversity advocacy to consider what interventions might appropriately broaden inclusion and participation in the hacking world and beyond.

Anxious Masculinity in Frank Wedekind's Spring Awakening

2010 ◽  
Vol 2 (2) ◽  
pp. 165-180
Author(s):  
Stephanie E. Libbon
Keyword(s):  
Spring Awakening
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