• History & Criticism
  • Messiah of the New Technique: John Howard Lawson, Communism,

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    It is our conviction that without this historical grounding, contemporary debates, whatever their merits, would lack sufficient context to evaluate the larger significance of critical endeavors. Agate (Morality plays) 22 Drama in education, theory and technique. A series of full size pat- tern sheets for making bodies, faces, and cos- tumes are tucked in an envelope inside the back cover. Now I've inherited from the middle ages a whole roster of character types: avengers, clowns, courtiers, kings, lovers, madmen, malcontents, scholars, soldiers, villains. .. but no thinker.
  • History & Criticism
  • The Cambridge Introduction to Theatre Historiography

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    It is a collection of all the plays except those of Shakespeare included in the 2 volumes by the same editor: Shakespeare and his fellow dramatists. (See entry under same section) Intro- duction and notes are similar. Later these plays were moved out of the church into the street, where the platform sets were arranged around an area in which the audience could stand or move from place to place in a prescribed order. Lo and Gilbert define theatre of resistance as being ―...driven by a political imperative to interrogate the cultural hegemony that underlies imperial systems of governance, education, social and economic organization, and representation‖. 10 Some elements of resistance theatre that interrogate hegemonic values and make possible resistance to oppression, while producing opportunities for empowerment are: open critiques of mainstream discourses, disruption of deeply fixed notions, and questioning the foundation and construction of norms and power,11 reconfiguration of mainstream 8 see Jill Dolan, The Feminist Spectator as Critic, Ann Arbor: The University of Michigan Press, 1991, pp. 1-18 for a theatre feminist critique on the North American theatrical environment 9 See Antonin Artaud, The Theater and Its Double, New York: Grove Press, 1958 10 Jacqueline Lo and Helen Gilbert, ―Toward a Topography of Cross-Cultural Theatre Praxis‖ in The Drama Review, Vol. 46, No. 3, 2002, p.35 11 Paul Rabinow (ed.) The Foucault Reader, New York: Pantheon, 1984; Augusto Boal, Theatre of the Oppressed.
  • History & Criticism
  • The Magic World Behind the Curtain (Artists and Issues in

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    Contents of series: ist ser contains a varied group of one-act plays such as: The boy comes home, by A. Eaton "The book justifies itself thoroughly and here- after should be indispensable to all students of the American stage and drama." Same; arr and rev by (Sir) Henry Ellis. 1813 G. Bell 2v; enl ed 1890 3v o.p. (For other editions see entry: Brand's popular antiquities of Great Britain, under Bibli- ography, 7 Pageantry) Contents: V I The calendar V2 Customs and ceremonies of England V3 Superstitions Of equal value with Strutt and Donee.
  • History & Criticism
  • Spectatorship at the Elizabethan Court: Heft 1 (Zeitsprunge)

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    Paul Belloni Du Chaillu. 1889 Scribner 2v o.p. "The early history, manners and customs of the ancestors of the English speaking nations. He was "one of the founders of the négritude movement in Francophone literature". They stayed in the monotonous work routine of the lower middle class, acquiring, if they were lucky, enough status to move to one of the more nondescript suburbs, and losing their strongest virtue � the group solidarity that had made them, in high school, a force to be reckoned with.
  • History & Criticism
  • The Theatre of Apollo: Divine Justice and Sophocles' Oedipus

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    A close examination of many of Hamlet's reflective speeches, including his celebrated "To be nor not to be" soliloquy, will show that they serve functions similar to those of Brutus in Julius Caesar. See entry under Pageant- ry) A masque of myths in 3 "Spells." National Recreation Association of Amer- ica, 315 Fourth Ave, N. Marxist literary theories tend to focus on the representation of class conflict as well as the reinforcement of class distinctions through the medium of literature.
  • History & Criticism
  • Leonard Bernstein: West Side Story (Landmarks in Music Since

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    Geister (4 pantomimes) 201 Impromptu entertainments. L. (pseud) 67, 69 Menander 218. 221 Mencken. Generic sense of "place of action" is from 1580s; especially "region where war is being fought" (1914). Title page In the preface the translator sketches briefly the progress of the art of dancing during the last halt cciKiuy. August Strindberg. (Anglo-Swedish lit founda- tion) 1931 J. It supplements the author's earlier volume The renascence of the English drama. (See entry under same section) Froissart and the EngHsh chronicle play.
  • History & Criticism
  • Performance and Identity in the Classical World

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    Dutton and Companv, Inc., 286 Fourth Ave, N. La voce di Lisistrata e la fantasia comica.” Atti del convegno di studi “Comicità e riso nella commedia antica,” Cagliari 2005. It is around 1800 that the saying, 'Like Hamlet without the Prince' -- becomes current. Elisabeth Edland. 1928 Abing- don press 78p 75c A collection of 5 plays for children. From the young nation’s earliest days, when an “American” acting style first took shape, to the influence of African-Americans on Shakespeare on stage, to method acting, to Hollywood, America and Americans—actors, directors, and audiences—have made Shakespeare our own.
  • History & Criticism
  • In the Intersection: Partnerships in the New Play Sector

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    Each dance and dramatization is accompanied by appropriate music and full di- rections. Diagrams are given to show correct staging. .'\nother similar book by the same author is: -Merry eiitertainniciits (ig.'4 Penn 1S7P 75c. pa 40c) Sure fire acts for amateur vaudeville. That’s bribery and actually, all the reader gets is more marketing. In his foreword to Venus and Adonis, Shakespeare had promised the dedicatee "a graver labor" if his first offering pleased its would-be patron; in all likelihood, then, Lucrece was under way as a companion piece to Venus and Adonis at least a year before its eventual publication in 1594.
  • History & Criticism
  • Participatory art

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    Rudolf Bode; tr from German with foreword by Sonya Forthal and Elizabeth Waterman, c 1931 A. Four acts; 17 scs; cast: 20 ra, 3 w, extras; 2"-^ hrs; elaborate scenery and costumes; skilled direction. Also, the play does not look back to a story of Ancient Greece or Rome, it takes place in the here and now for Molière‎'s audience. After hearing of Biograph's praise of the area, other filmmakers headed west to set up shop. He still felt he had been right in opposing her somewhat restrictive view of the radical writer’s responsibility but now he believed his own opposition to Brecht’s broader view of realism had been mistaken.
  • History & Criticism
  • The No Plays of Japan

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    Leigh DeNeef and Craufurd Goodwin. 2nd Edition. Campbell S5 Amateur and educational dramatics. Which type of critic expresses thoughts with precision, clarity, and grace, through the careful building up of ideas, a presentation of evidence, logical argument, the use of helpful analogy and example, and a clear style of expression? - Detailed, comprehensive, and rigorously researched articles without the deadline or space limitations of newspapers. 1. Mont- gomery Schuyler, jr. v3 1906 Columbia univ press xi, 105p $2.50 A complete list of all printed and manuscript Sanskrit plays and of articles and works relating to the Hindu drama.