Locating “Dixie” in Newspaper Discourse and Theatrical Performance in Toronto, 1880s to 1920s

Cheryl Thompson

doi:10.3138/cras.2017.032

Portraying Life Lived with Bipolar Disorder: Evaluation of a Contact based Theatrical Performance

PsycEXTRA Dataset ◽

10.1037/e506852013-006 ◽

2012 ◽

Author(s):

James Livingston ◽

Sagar Parikh ◽

Erin Michalak ◽

Victoria Maxwell ◽

Vytas Velyvis ◽

...

Keyword(s):

Bipolar Disorder ◽

Theatrical Performance

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‘Think me cold, frozen, and impotent, and so report me?’: Volpone and His ‘Castrone’ Complex

10.3366/edinburgh/9781474423472.003.0003 ◽

2018 ◽

Author(s):

Isaac Hui

Keyword(s):

Early Modern ◽

Theatrical Performance ◽

The Subject

Reading Jonson with the Fabliau, Boccaccio and Chaucer, this chapter, with the help of Lacan’s theory, rereads Volpone Act 3 scene 7, explaining why Volpone ‘delays’ his ‘rape’ of Celia. While Volpone is commonly known for his love of theatrical performance and transformation, the chapter suggests that this cannot be thought without the concept of his being ‘castrated’. Although ‘castration’ is usually regarded as a censoring force, Volpone is empowered and thrives on it. Moreover, this chapter compares the scene in Volpone with another similar one in Philip Massinger’s The Renegado, discussing how the subject of castration is used in early modern comedy and tragicomedy.

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The theater of memory: Direct speech in Palestinian oral history

Memory Studies ◽

10.1177/1750698018777023 ◽

2018 ◽

Vol 13 (4) ◽

pp. 633-648

Author(s):

Kobi Peled

Keyword(s):

Oral History ◽

Striking Feature ◽

Direct Speech ◽

The Past ◽

Theatrical Performance ◽

Main Thing ◽

Significant Figures ◽

Arabic Speaking ◽

Do So

A striking feature of Palestinian oral history projects is the extensive use that interviewees make of direct speech to communicate their memories—especially those born before the 1948 Arab–Israeli war. They do so irrespective of whether or not they participated in or actually heard the dialogues they wish to convey. This article seeks to characterize and explain this phenomenon. In the interviews conducted by the author—an Arabic-speaking Jew—as well as in other projects, this mode of speech is marked by ease of transition from character to character and between different points in time. It clearly gives pleasure to those engaged in the act of remembering, and it grades readily into a theatrical performance in which tone of speech and the quality of the acting become the main thing. This form of discourse sprang up from the soil of a rural oral culture and still flourishes as a prop for supporting memory, a vessel for collecting and disseminating stories, and a technique for expressing identification with significant figures from the past.

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Exporting Soviet Culture: The Case of Agitprop Theater

Slavic Review ◽

10.2307/3185580 ◽

2003 ◽

Vol 62 (2) ◽

pp. 324-342 ◽

Cited By ~ 2

Author(s):

Lynn Mally

Keyword(s):

Soviet Union ◽

Socialist Realism ◽

Popular Front ◽

Political Strategy ◽

Soviet Culture ◽

Cultural Policies ◽

New Methods ◽

The Soviet Union ◽

Theatrical Performance ◽

Global Influence

In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.

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Theatrical Performance as Unfreezing

Journal of Management Inquiry ◽

10.1177/1056492607306022 ◽

2008 ◽

Vol 17 (4) ◽

pp. 398-406 ◽

Cited By ~ 19

Author(s):

Steven S. Taylor

Keyword(s):

Theatrical Performance

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MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)

Arts education and science ◽

10.36871/hon.202002006 ◽

2020 ◽

Vol 1 (2) ◽

pp. 53-61

Author(s):

A. N. Yakoupov ◽

Keyword(s):

Oral Communication ◽

Recording Equipment ◽

Professional Musicians ◽

Stage Design ◽

New Era ◽

Musical Notation ◽

Theatrical Performance ◽

Musical Thinking ◽

Oral Method ◽

Musical Communication

In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools have created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. Even greater involvement of people in the process of musical communication was facilitated by the appearance of electronic and mechanical means of recording music. The emergence of new opportunities in the field of sound dynamics control, its timbre, influenced the development of musical thinking. A new industry of "production" has emerged with the involvement of professional musicians who own modern recording equipment and specialize in the production of "artificial" musical products. This process was accompanied by the formation of a new audience of listeners who preferred recording to live sound.

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