Showing Results for
- Academic Journals (199)
Search Results
- 199
Academic Journals
- 199
-
From:Theatre Symposium (Vol. 20) Peer-ReviewedIn The Making of American Audiences: From Stage to Television, 1750-1990, Richard Butsch chronicles the history of audience development in the U.S. as it transitioned away from live theatre to film and television....
-
From:Comparative Drama (Vol. 48, Issue 1-2) Peer-ReviewedThe first time I realized I was an actor in an interactive drama was during a Palm Sunday Mass the year I was preparing for my First Communion. My fellow parishioners and I were instructed to participate in the reading...
-
From:Theatre Symposium (Vol. 20) Peer-ReviewedOn May 23, 1921, a new musical opened in New York at Cort's 63rd Street Music Hall near the intersection with Broadway. While Shuffle Along was not the first show to feature an entirely African American cast, it has...
-
From:Comparative Drama (Vol. 48, Issue 1-2) Peer-ReviewedDemands for participation shape the performance experience in Irish director Louise Lowe's 2012 project, The Boys of Foley Street. The piece forces spectators to become participants, living the cultural milieu as much...
-
From:Theatre Notebook (Vol. 64, Issue 1) Peer-ReviewedThe presence of playgoers on the indoor or "private" theatre stages is indicated in numerous contemporary anecdotes and generally accepted (although rarely considered in discussions of early modern staging), but the...
-
From:The Review of Contemporary Fiction (Vol. 26, Issue 1) Peer-ReviewedThe Collective as Audience Critics have previously noted the recurrence of first-person, plural narration in Steven Millhauser's The Knife Thrower and Other Stories. In the title story, a town's residents await the...
-
From:Sartre Studies International: An Interdisciplinary Journal of Existentialism and Contemporary Culture (Vol. 18, Issue 2) Peer-ReviewedABSTRACT: Sartre's conflicted relationship with his theatrical audience is explained by showing how Sartre's initial theatrical venture, Bariona, created in a POW camp in December 1940, sparked an idealized conception...
-
From:Shakespeare in Southern Africa (Vol. 19) Peer-ReviewedGiven its circumstances, the Asche second tour offers us a valuable opportunity to compare audience response in three very different outposts of empire to productions of Shakespeare consciously marketed as London...
-
From:Modern Drama (Vol. 40, Issue 3) Peer-Reviewed'Crimes and Crimes,' August Strindberg's play produced in 1902, is an 'unknown comedy,' in the sense that audience reaction disregards this category. The serious manifest content of the play is absorbed literally by the...
-
From:Modern Drama (Vol. 40, Issue 3) Peer-ReviewedThe realistic portrayal of the life of the Prozorovs, namely, Olga, Masha and Irena, in Anton Chekhov's play 'Three Sisters' prompted the audiences to pay them a visit because just watching their story enacted onstage is...
-
From:Early Modern Literary Studies (Vol. 20, Issue 1) Peer-ReviewedIn Francis Beaumont's The Knight of the Burning Pestle (1607), the metadramatic Citizen and his wife Nell are clearly meant to offer an ironic and entertainingly chaotic element, but their constant interferingly...
-
From:Journal of Social History (Vol. 38, Issue 2) Peer-ReviewedAbstract: Henk Gras, Harry Van Vliet, "Paradise Lost nor Regained: Social Composition of Theatre Audiences in the Long Nineteenth Century" The received knowledge about theatre audiences from the late eighteenth to...
-
From:Shakespeare Bulletin (Vol. 26, Issue 1) Peer-ReviewedI Coriolanus engages performance by voicing many of the same biases that motivated sixteenth- and seventeenth-century writers hostile to theatre. These include a concern for the relation between theatre and society;...
-
From:Theatre Symposium (Vol. 20) Peer-ReviewedIn Ireland we are not a statue-building people. Few of our immortals live either in stone or bronze. --The Nation, 1888 Ten years after The Nation made this declaration, (1) a wave of statue madness indeed spread...
-
From:Theatre Symposium (Vol. 23) Peer-ReviewedIn the summer of 2012 the Vivian Beaumont Theater at Lincoln Center housed the critically acclaimed Broadway hit War Horse. One performance included two memorable audience events, both dealing with young patrons. First,...
-
From:Theatre Research in Canada (Vol. 34, Issue 2) Peer-ReviewedFrom blogging, to YouTube-ing, to social networking, feminist theatre audiences and artists are increasingly using the Internet to shift the power dynamics in their relationship to mainstream critics. This is not only...
-
From:Medieval and Renaissance Drama in England (Vol. 21) Peer-ReviewedAUDIENCES at the early modern theaters from Shakespeare's time up to the closure of 1642 were different from modern spectators in two distinct ways. First, they behaved as crowds, not as individuals, and second the...
-
From:Comparative Drama (Vol. 48, Issue 1-2) Peer-ReviewedAfter a full half-century of intense experimentation with the role of the audience in contemporary theater and performance and the new channels opened for audience interactivity by the new media technologies, it is...
-
From:Comparative Drama (Vol. 46, Issue 4) Peer-ReviewedReaders of Philip Massinger's hyper-self-reflective The Roman Actor have long noted, and then struggled to understand, Paris's inability to use performance to enact change in his audience. In the first of three inset...
-
From:Shakespeare Bulletin (Vol. 24, Issue 3) Peer-ReviewedIn John Manningham's famous account of a 1602 performance of Twelfth Night, or What You Will, he recalls the play as being most concerned with the gulling of Malvolio: Here in his diary entry, Manningham inverts the...