scholarly journals Myśleć z troską: Teatr, archiwum, historiografia

2021 ◽  
Vol 70 (4) ◽  
pp. 195-204
Author(s):  
Magdalena Rewerenda
Keyword(s):  
Theatre History

Artykuł stanowi recenzję zbiorowego tomu The Methuen Drama Handbook of Theatre History and Historiography (2020). Recenzentka skupia się na założeniach ideologicznych i metodologicznych redaktorek ze szczególnym uwzględnieniem inspiracji zwrotami archiwalnym i afektywnym w humanistyce. Wydobywa z książki wątki akcentujące polityczno-ideologiczne aspekty pracy z archiwum teatru, przede wszystkim relacje władzy ukryte w historycznych dokumentach oraz wieloaspektowe związki badacza z przedmiotem badań. Zwraca uwagę na możliwości problematyzacji pozycji historyka i na znaczenie społeczno-politycznych kontekstów teatru w historiografii.

Spinning Truth(s), Myths, Gossip, and Facts in the Theatre History Classroom

2020 ◽  
Vol 30 (3) ◽  
pp. 195-201
Author(s):  
Shawna Mefferd Kelty
Keyword(s):  
Theatre History

John Galsworthy's Strife: Striving for Balance or the Audience as Jury

1995 ◽  
Vol 20 (1) ◽  
pp. 7-18
Author(s):  
Rudolf Weiss
Keyword(s):  
Critical Reception ◽  
Theatre History ◽  
Textual History

Strife, arguably John Galsworthy's best play, can most fruitfully be studied from four different perspectives: theatre history, textual history, dramatic analysis, and critical reception.

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.

Strindberg's A Dream Play: Postmodernist Visions on the Modernist Stage

1999 ◽  
Vol 40 (2) ◽  
pp. 43-70
Author(s):  
Klaus van den Berg
Keyword(s):  
Michel Foucault ◽  
Historical Narrative ◽  
Historical Narratives ◽  
Spatial Relationships ◽  
Theatre History ◽  
Historical Events ◽  
Architectural Styles ◽  
Theatre Theory ◽  
Theatre Historiography ◽  
Historical Periods

Since the 1980s, new approaches to theatre historiography, the study of what Sue-Ellen Case has called the “convergence of history and theory,” have begun to arise in a challenge to generally accepted principles of theatre history, such as the supremacy of independent facts, the autonomy of dramatic texts, and the hierarchy of text, performance, and culture. The French critic and philosopher Michel Foucault has pointed out that the grouping and ordering of events into historical periods creates a “space of reference,” which lends some events a heightened meaning, while obscuring or submerging others. In a substantial challenge to traditional methods of theatre history, historiographers influenced by this view have begun to examine the theoretical underpinnings of historical periodization. In theatre theory, Thomas Postlewait has investigated the often unarticulated assumptions by which theatre historians isolate a group of historical events and designate them with period names.Many scholars now center their attention on historical discontinuity: searching for ruptures in the historical narrative, focusing on dynamics which lend instability rather than stability to historical periods, and reconceptualizing temporal historical narratives into spatial relationships. For example, from a perspective of discontinuity, a play is conceived not simply as a fixed entity created at some moment in history, but as a representation of layers of historical influences; likewise, a theatre building is not simply a material location in space, but a physical expression of historically emergent architectural styles and sociopolitical circumstances, and a performance is not simply a translation of a text to the stage, but a collage of past and emergent cultural and aesthetic processes.

Renaissance Drama: Excluding Shakespeare

2021 ◽  
Author(s):  
Steve Bull ◽  
Lakshmi Balakrishnan ◽  
Elizabeth Moroney ◽  
Cristiano Ragni ◽  
Alice Equestri
Keyword(s):  
Renaissance Drama ◽  
Theatre History

Abstract This chapter has three sections: 1. Editions and Textual Matters; 2. Theatre History; 3. Criticism. Section 1 is by Steve Bull; section 2 is by Lakshmi Balakrishnan; section 3(a) is by Elizabeth Moroney; section 3(b) is by Cristiano Ragni; section 3(c) is by Alice Equestri.

'Getting to' Canadian Theatre History: On the Tension Between the New History and the Nation State

1992 ◽  
Vol 13 (1) ◽  
pp. 63-80
Author(s):  
Stephen Johnson
Keyword(s):  
Civil War ◽  
Nation State ◽  
Upper Canada ◽  
Trade Journal ◽  
Theatre History ◽  
Canadian Theatre ◽  
Definition Of ◽  
Theatrical Culture ◽  
American Trade

The methods of the 'new' history have helped to define the study of theatre history; at the same time, these methods tend to de-emphasize the influence of the politics of the nation state on that history. This can create tension in a discipline such as Canadian theatre history that defines itself by national as well as cultural criteria. This article illustrates the tension by comparing the definition of theatrical culture implicit in two examples of the Upper Canada (Wellington County) local press during the 1860s with that of an American trade journal for the same period. Reference is made to the Civil War, the Fenian raids, and Confederation.

scholarly journals Picturing Nineteenth-Century Female Theatre Managers: the Iconology of Eliza Vestris and Sara Lane

2017 ◽  
Vol 33 (1) ◽  
pp. 3-21
Author(s):  
Janice Norwood
Keyword(s):  
Nineteenth Century ◽  
English Literature ◽  
Theatre History ◽  
Senior Lecturer ◽  
Personal Lives ◽  
Professional Activities ◽  
Theatrical Management ◽  
Aesthetic Practice ◽  
Theatre Studies ◽  
The University

Lucia Elizabeth Vestris (1797–1856) and Sara Lane (1822–99) were two pioneering women in nineteenth-century theatre history. Both were accomplished singers who made their names initially in comic and breeches roles and, during periods when theatrical management was almost exclusively confined to men, both ran successful theatre companies in London. Despite these parallels in their professional activities, there are substantial disparities in the scrutiny to which their personal lives were subjected and in how their contemporaries and posterity have memorialized them. In this article, Janice Norwood examines a range of portraits and cartoons of the two women, revealing how the images created and reflected the women's public identities, as well as recording changes in aesthetic practice and social attitudes. She argues that the women's iconology was fundamentally shaped by the contemporary discourse of gender difference. Janice Norwood is Senior Lecturer in English Literature, Drama, and Theatre Studies at the University of Hertfordshire. She has published on various aspects of nineteenth-century theatre history and edited a volume on Vestris for the Lives of Shakespearian Actors series (London: Pickering and Chatto, 2011).

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