Search results

You are looking at 31 - 40 of 91 items for :

  • "performance history" x
  • Refine by access: All content x
Clear All
Space, memory, and material devotion
Susannah Crowder

women’s religious patronage and women’s participation in fraternal associations with methodologies that consider material devotion. Personal practice is embedded within a framework of shared social matter in order to produce a holistic perspective of this aspect of women’s performance. To this end, I integrate theories of memory, space, and material culture into the performance history approach. Medieval scholarship’s acknowledgement of the fundamental role of women in constructions of memory underpins this work.1 Like those of Catherine Gronnaix, women’s donations

in Performing women
Abstract only
Sounding The House of Fame in Troilus and Cressida
Helen Barr

breathing and wild cheering accompanied the fight.63 At the slaughter of Hector (Davies (1985)), Thersites let out a high-pitched scream, while, in 1963, a production by the Birmingham Repertory Reverberate Troy 213 Theatre sounded to the noise of wrenches and chains as Achilles led a gang of leather-jacketed motorbike thugs. In Canada in 1987, one of the Myrmidons was heard to utter ‘vroom vroom’ as they moved in for the kill.64 Performance history reveals that these pugilistic sound effects were heard alongside a cacophony of incidental noise: Patroclus hitting

in Transporting Chaucer
Ann Buckley

, enabling indication of pitch differentiation, and the musical stave was invented in the early eleventh by Guido d’Arezzo (991/2–post 1033), these options were not necessarily availed of, depending most likely on the purpose of the manuscript and the requirements of its users. A further problem is the complete absence of notation for instrumental music, which belonged to the domain of oral tradition, leaving literary references, iconography and educated guesswork as the only means of reconstructing a performance history for medieval music up to the twelfth/ thirteenth

in Aspects of knowledge
Abstract only
The Mystery of the Charity of Charles Péguy (1983)
Jeffrey Wainwright

characters and their intentions, are part of a grotesque and endlessly repetitive performance: History commands the stage wielding a toy gun, rehearsing another scene. It has raged so before, countless times; and will do, countless times more, in the guise of supreme clown, dire tragedian. (1) The words perform, they are performed, and their performance is but part of history’s theatre, put before us since Péguy’s time, in the continuous

in Acceptable words
Gumboot dance in South Africa
Dana Mills

formation of teams which would rehearse and compete in performance with teams from other compounds. The use of this dance as a tourist attraction has 70 70 Dance and politics also led to the understanding, in some areas, of the dance as manipulated by white people (Muller and Fargion 1999). From its inception and throughout its performance history the dance exhibited the disciplining of the African population by the white population in South Africa. Gumboot dance, then, not only imitated and performed the politics of inequality that circumscribed the miners’ lives

in Dance and politics
Rachel Willie

(and displacing) topical events, the hesitant ending could be a response to hesitant times. While this possible performance history may offer an explanation regarding the ambiguous ending of The Siege of Rhodes, like the first part, the second part could also have been redesigned to accommodate the Restoration. As the earliest printed edition of the second part dates to 1663, we do not know if some modifications were made to the text between its entry in the Stationers’ Register and its publication. However, the title pages to the 1663 editions of both texts offer

in Staging the revolution
Abstract only
Global Caesars
Andrew James Hartley

clearly marked by European Fascism and then in the postcolonial cultures of India and South Africa. Given the many variables which govern a play’s performance history in places with widely differing cultures and histories, it seems unreasonable to expect consistent patterns to emerge; but in the case of Caesar, some tentative observations might be made. First, the play’s political valences, though they

in Julius Caesar
Abstract only
Josette Bushell-Mingo’s Cleopatra, Royal Exchange, Manchester, 2005; Tarell Alvin McCraney’s ‘radical edit’, Royal Shakespeare Company, The Public and GableStage, 2013
Carol Chillington Rutter

layers of performance history in which it is cloaked’? ‘If Shakespeare really is our contemporary’, why are ‘so many revivals so timid and reverential?’  17 A year later, McCraney de-pickled Antony and Cleopatra. Neither timid nor reverential, yet mightily respectful of the senior playwright who stood behind it (and withal, ‘play-full’), McCraney's ‘radical edit’ aligned much more closely with Thomas Ostermeir's Hamlet (2008) and Katie Mitchell's Ophelias Zimmer (2015) than with either Gregory Doran's Antony and

in Antony and Cleopatra
Abstract only
A play that ‘approves the common liar’
Carol Chillington Rutter

and Cleopatra has been re-imagined by actors, directors and designers, and staged for new audiences bringing new eyes to its performance. It's a performance history that begins as if mimicking its characteristic trope. It begins, that is, with theatrical wrong-footing, for after its first Jacobean performances, the play appears to have dropped off the stage for a century and a half. There is no record (except for six disastrous performances by David Garrick in 1759) of Shakespeare's play in the theatre until 1849, and then only in radically cut

in Antony and Cleopatra
Abstract only
Of 1647, theatre closure and reinvention
Rachel Willie

, the performance history of Edward Howard’s The Change of Crownes (1667) emphasises that, far from being a royalist entity, the Restoration stage was shaped and informed by the previous twenty years. The prompt book of The Change of Crownes is, in many ways, an invaluable document. However, the empirical evidence that can be garnered from the text means that very little can be authoritatively asserted about the play’s performance and the anecdotes complicate rather than elucidate our understanding of the drama. The prompt book is mainly written in a neat italic hand

in Staging the revolution