TCG ON THE WEB
American Theatre,
07/2009, Letnik:
26, Številka:
6
Trade Publication Article
Kristin Martlng, artistic director of NYCs HERE Arts Center, will journey to Moscow to participate in the New European Theatre Festival and Big Break Festival; Minneapolis-based playwright/ dramaturg ...team Aditi Brennen Kapll and Liz Engelman will work with Bulgarian artists on a new play at the Rhodopi International Theatre Laboratory in Smolyan, Bulgaria; director/ choreographer Artemis Preeshl of New Orleans will co-direct and choreograph Money, Money, Money with playwrights Jeton Neziraj and Michael Devine at Kosovo National Theatre; L.A.'s Poor Dog Group is off to Eastern Europe to develop The Internationalists at the Student Centre in Zagreb, to attend Poland's Grotowski Festival and to tour Croatia with Daska Theater; Theater Breaking Through Barriers staff will travel from NYC to the International Blind and Visually Impaired Theatre Festival in Zagreb; Jiri Zizka, co-artistic director of Philadelphia's Wilma Theater, will consult with writer Vaclav Havel and director Ondrej Hrab in Prague prior to a 2010 production of Leaving; and New York writer/performer Rebecca Joy Fletcher heads to Warsaw to work on Kleynkunst! with the State Jewish Theater and the Shalom Foundation.
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DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
The collection also includes a new play, Sharons Tongue-concerning Pollock herself, written and produced by playwright/actor Lindsay Burns, actors Laura Parken and Grant Linneberg, and Pamela ...Halstead of the Playing with Pollock Collective-along with the unpublished transcripts from seventeen episodes of Pollock's radio show, Pollock on Plays, which round out the book nicely. Using trauma theory, Schapp examines how the play operates as a "trauma narrative," ensuring audience recognition of our shared national role in such tragic phenomena, while in tandem emphasizing Pollock's role in raising awareness concerning atrocities in Canadian history.
Acknowledging how the media has been used both to disseminate government propaganda about war and to expose government duplicity about the reasons for going to war, Hammond turns to theories of ...simulation proposed by Jean Baudrillard and Zaki Laïdi (among others) to suggest that in a post-cold war era, representations of war and humanitarian interventions offer a "sense of purpose and mission" (306) to Western nations that are otherwise adriftand without purpose. Considering an under-researched area of popular culture, Lucy Nevitt points out in her essay "'The Spirit of America Lives Here': US Pro-Wrestling and the Post-9/11 'War on Terror'" that World Wrestling Entertainment (WWE) has a specific structure, narrative, imagery, and rhetoric that depends upon stereotypical "assumptions about bodies and nations, about beauty, strength, dominance and worth" (321).
The primary text includes the following chapters: "The Actor-Manager's Temperament" (1-10); "Hamlet at the Malvern Festival Theatre, October 1937" (11-24); "Selections from Shakespeare at the Strand ...Theatre, 1940-1941" (25-38); "Richard III at St. Francis Theatre, Letchworth, September 1941" (39-52); "A Midsummer Night's Dream at the Prince of Wales Theatre, Cardiff, August 1942" (53-66); "The Merchant of Venice at the Opera House, Manchester, October 1943" (67-80); "King Lear at the Scala Theatre, London, April 1944" (81-94); "Twelfth Night at the Grand Theatre, Leeds, October 1945" (95-110); "Othello at the King's Theatre, Glasgow, November 1946" (111-22); "As You Like It at His Majesty's Theatre, Montreal, January, March 1947" (123-36); "The Merry Wives of Windsor at the Bedford Theatre, Camden Town, March 1949" (137-50); "Macbeth at the Dudley Hippodrome, October 1950" (151-64); "The Taming of the Shrew at the King's Theatre, Hammersmith, April 1953" (165-78); "The Legacy" (179-90). Elaine Aston, "Caryl Churchill's 'Dark Ecology'" (59-76); Stephen Bottoms, "The Garden in the Machine: Edward Albee, Sam Shepard and the American Absurd" (77-104); Ralph Yarrow, "Mutant Bodies: The Absurd in Eastern European Experience" (105-26); Joe Kelleher, "Recycling Beckett" (127-46); Franc Chamberlain, "Rare Butterflies, Persecution and Pinball Machines: Environment, Subjectivity and Society in the Theatre of Arthur Adamov" (147-64); Carl Lavery, "Ionesco's Green Lesson: Toxic Environments, Ecologies of Air" (165-90); Clare Finburgh, "Nettles in the Rose Garden: Ecocentrism in Jean Genet's Theatre" (191-218); Mark Taylor-Batty and Carl Lavery, "The Secluded Voice: The Impossible Call Home in Early Pinter" (219-40); David Williams, "Epilogue: 'The ruins of time (I've forgotten this before)'" (241-50).
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7.
Talking to teens about war
American Theatre,
07/2008, Letnik:
25, Številka:
6
Magazine Article, Trade Publication Article
The students of G-Star School of the Arts in West Palm Beach, Fla., don't have to wonder what it's like to be a young person in a warscarred region. They can ask-thanks to "Children of Conflict," a ...project created by Florida Stage's director of education, Susan Hyatt. During the past academic year Hyatt, along with playwright/filmmaker Robert Goodrich and drama teacher Jeffrey Bower, facilitated an online conversation between the Florida students and Rwandan, Albanian and Serbian teenagers.
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DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
