History & Criticism

Emblems of Mortality: Iconographic Experiments in

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Fitzgerald 35c A guide to the art of making-up for the stage, with special chapters on theatrical wigs, beards etc. Granville Forbes Sturgis. 1913 Shakespeare press 203p o.p. V2 contains an invaluable hand list of plays produced during this period. Unlike earlier amphitheaters, the Colosseum featured elaborate basement amenities, including animal cages and mechanical elevators, as well as a complex system of vaulted, concrete substructures.

Broadway's Fabulous Fifties: How the Playmakers Made It

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Edinburgh: Edinburgh University Press, 1999. Jahraus was his costar; it was the first of several shows in which they would play brothers. St Nicholas — short plays for children — Cen- tury Company, 55 W 42 St, N. Chief contemporary dramatists; ed with introds by Thomas Herbert Dickinson. 1915-1930. Title page Fruits of peace; a pageant for young people. His piece, ‘Urchins with Punctuation,’ is lengthy and entertaining, reflecting the show’s energy and offering a measured and reasoned opinion from which the individual reader can decipher the production’s suitability.

The Mediaeval Stage (Dover Books on Literature & Drama)

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ChaHf. 1931 Chalif Russian normal school of dancing, 163 W 57th St, N. Although it can not be completely exhaustive, the encyclopedia provides entries on most major works and authors, as well as literary terms. Bibliog in appendix: P343-76 gives a list of French dramatists with their plays and dates from the time of Scribe to lo^^o; P376-83, a list of French and English books on history and criticism of the drama, theatre, and playwrights. The article discusses various current events and general interest issues in England.

Dramatic Criticism, 1895-98: A Selection

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The bloggers are the vermin of this society.” He said this in an episode of the television program Theatre Talk in 2010 when he was the critic for Bloomberg News, after thirty-six years as the theatre critic for New York Magazine. Kamir, Orit. “To Kill a Songbird: A Community of Women, Feminist Jurisprudence, Conscientious Objection and Revolution in A Jury of Her Peers and Contemporary Film.” Law and Literature 19.3 (Fall 2007): 357-376.

First Aid for the USMLE Step 2 CK (First Aid for the USMLE

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They too have depended on the version handed down by the quixotic, melancholic author himself. Later, she got an e-mail from Jahraus berating her for not staying at the theater until the conversation was over. "That woke me up, because it was the first obvious signal of abuse," she says. "Everything else had been very gradual, very insidious, and had only turned me against myself. For the first time, the Best Play (How I Learned to Drive) and Best Musical (Violet) are both Off-Broadway productions. 2002-2003: The New York Times reverses itself again, forcing critics Ben Brantley and Bruce Weber to withdraw from the DCC. 2004-2005: In her will, the late Lucille Lortel bequeaths $70,000 to the Circle, supplementing her earlier $20,000 contribution.

Vaudeville Times Volume VII (Volume 7)

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Plays by Susan Glaspell: Trifles, The Outside, The Verge, Inheritors. We greet you as liberators. (hooks, 1990: 152) Some postcolonial theorists make the argument that studying both dominant knowledge sets and marginalized ones as binary opposites perpetuates their existence as homogenous entities. Recent discoveries are expounded in this volume. Trilling (p255-8) 144 Songs from the Briti.'^h drama. Research in African Literatures 22.1 (Spring 1991): 93-99.

Playgoing in Shakespeare's London (3rd, 04) by Gurr, Andrew

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Routledge Publishing, 2003- Read entire text- please read by the first day of class, it will make your life much easier if you do! Even after they are kidnapped by an unnamed African terrorist group that attacked their village, they try to maintain a degree of normality in the face of forced prayers, attacks on their camp and the disappearance of other girls. It has gone into “occultation,” as we say, and will come back again one day. Stage guide and orchestra- tion may be rented. Collection of pames for large and small groups and stunts compiled by a Y.

Pina Bausch (Routledge Performance Practitioners)

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Craig charges that Shaw betrayed Ellen Terry and broke his promise to Craig, and accuses Shaw of being a mercenary journalist preying on his friends to advance his reputation. Wilder 91 Studies in the Chinese drama. Ozieblo, Barbara. “Susan Glaspell.” In American Drama. His appeal is universal and his works have been translated, read, and analyzed throughout the world. In a grown up child – a poet, there is another instinct, helping him to make him a poet – the instinct for harmony and rhythm.

Revolutionary Acts: Theater, Democracy, and the French

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Verini (Traditions and custom.<;) 204 PAGEANTRY, (FESTIVALS AND RELIGIOUS DRAMA) History and technic 151-6 Also see references in the following: Amateur dramatic year book and community theatre handbook, ed. Part I Text of the pageant; Part II Essays on Yale con- tributed by various authors and graduates. Yearbook of English Studies. 27 (1997): 130-136. _____. "Imitation, Abrogation and Appropriation: The Production of the Post-Colonial Text." In a larger sense, it will examine the role and function of theatre in each successive society, determining how the stage reflects the social, political and cultural concerns of each age.

Henslowe's Diary; Commentary

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Writing New Identities: Gender, Nation, and Immigration in Contemporary Europe. Covers the history, life and culture of native North Americans. Belasco built enormous and spectacular three-dimensional sets that he deemed naturalistic. 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.