George Pierce Baker and the American Theatre

1955 ◽  
Vol 7 (4) ◽  
pp. 352
Author(s):  
E. J. West ◽  
Wisner Payne Kinne
Keyword(s):  
American Theatre

Mexican American Theatre: Then and Now

Hispania ◽  
1985 ◽  
Vol 68 (2) ◽  
pp. 325
Author(s):  
Judith I. Bissett ◽  
Nicolas Kanellos
Keyword(s):  
Mexican American ◽  
American Theatre

The Achievements of the Douglass Company in North America: 1758–1774

1982 ◽  
Vol 23 (2) ◽  
pp. 141-149 ◽  
Author(s):  
David D. Mays
Keyword(s):  
New York ◽  
North America ◽  
West Indies ◽  
Theatre History ◽  
The West ◽  
American Theatre ◽  
History Of ◽  
American Theatre History ◽  
A Company

On Monday, October 16, 1758., Hugh Gaine reported a novelty. “Friday last,” he told his readers in the New-York Mercury, “arrived here from the West Indies, a Company of Comedians; some Part of which were here in the Year 1753.” This brief notice, which went on to assure its readers that the company had “an ample Certificate of their Private as well as publick Qualifications,” marks the beginning of the most significant event in American theatre history: the establishment of the professional theatre on this continent. The achievements of the Company of Comedians during its sixteen-year residence in North America are virtually without parallel in the history of the theatre, and have not received sufficient recognition by historians and scholars.

America on Stage: the World in the Classroom

1995 ◽  
Vol 11 (41) ◽  
pp. 66-71
Author(s):  
Caleen Sinnette Jennings
Keyword(s):  
Assistant Professor ◽  
Television Studies ◽  
Washington Dc ◽  
American University ◽  
American Theatre ◽  
Film And Television ◽  
The Third ◽  
Group Presentations ◽  
The World ◽  
Similarities And Differences

In this, the third paper originally presented at the ATHE conference in Atlanta in 1992, Caleen Sinnette Jennings, Assistant Professor of Theatre in the American University, Washington, DC, discusses the problems and rewards of introducing American theatre, film, and television studies to a class of sixty students from a wide variety of nations and social backgrounds. Outlining the ideas and intentions behind a wide-ranging syllabus, she quotes from group presentations and individual responses to illustrate how works deeply rooted in American culture and assumptions can stimulate the recognition and discussion of social and cultural similarities and differences among responsive students.

Channelling the dead: A conversation on Desdemona with Tina Benko

2020 ◽  
Vol 13 (3) ◽  
pp. 305-318 ◽  
Author(s):  
Valentina Rapetti
Keyword(s):  
New York ◽  
New York City ◽  
African American ◽  
Toni Morrison ◽  
York City ◽  
Nobel Laureate ◽  
Cross Cultural ◽  
American Theatre ◽  
Broad Variety ◽  
Character Building

Tina Benko is an American stage, screen and television actress who has steadily trodden the Broadway boards for twenty years while starring in films and TV series and teaching acting and movement in New York City. An intensely focused and versatile performer, Benko has played in a broad variety of genres, ranging from screwball and Shakespearean comedies to realistic Russian, Scandinavian and American plays. In this interview, she discusses the factors that attracted her to drama and theatre, her acting training and approach to character-building, and theatre as a space for healing and reconciliation as she experienced it while working in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, and music and lyrics by Malian singer-songwriter Rokia Traoré.

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